yC-NRLF B M D3fl 723 im ^* Wkt. GUIDE TO /i^/^^/A^^{^^ ^ tH THE READING OF THE'^^ ^ y GREEK TRAGEDIANS; A SERIES OF ARTICLES THE GREEK DRAMA, GREEK METRES, AND CANONS OF CRITICISM. COLLECTED AND ARRANGED BY THE REV. J. R. MAJOR, D.D. HEAD MASTER OF KING's COLLEGE SCHOOL, LONDON. SECOND EDITION. LONDON: PRINTED FOR LONGMAN, BROWN, GREEN, AND LONGMANS, PATERNOSTER-ROW . 1844. London : Printed by A. Spottiswoode, New- Street- Square. 3/3/ PREFACE TO THE SECOND EDITION. In this Manual it has been the object of the Editor to bring together, from various sources, information both interesting and useful to the Student on the several heads of the Greek Drama, Greek Metres, and Canons of Criticism. On the first head, extracts have been given from Bentley's Dissertation on Phalaris, as the chief authority for the age of Thespis and tlie origin of Tragedy and Comedy ; care having been taken to divest them of such controversial allusions and digressions as might embarrass the reader in his investigations. These extracts are succeeded by others from various authors, on the Progress of the Drama, the History and com- parative Merits of the principal Tragic and Comic Writers, and the Construction of the Greek Theatre. On Greek Metres, the Editor had prefixed an Intro- duction to his edition of the Hecuba of Euripides, which he had been frequently requested to publish in a sepa- rate form, for the purpose of reference in the reading of Greek Plays generally. With that view it is here reprinted with considerable additions; and to it have A 2 IV PREFACE TO THE SECOND EDITION. been subjoined sundry articles from the Classical Journal on the same subject. The Canons of Criticism have been collected from the notes of Porson, Blomiield, Monk, and Elmsley, and from Dawes's Miscellanea Critica. In this second edition the Work has undergone a careful revision; and many important additions and improvements have been made. CONTENTS. Page Extracts from Bentley's Phalaris . - _ i — 35 Original Metre of Tragedy and Comedy - - .- 1 Nature of Tragedy and Comedy at their commencement - ib. Epicharmus, not Susarion, the inventor of icintten Come(|^ - 2 Written Comedy more recent than Tragedy - - - 3 Age of Epicharmus - - - - - - ib. Account of Phormus or Phormis - - - - ib. Iambics ascribed to Susarion ----- 4 Tlapa(iaaiQ in comedy - - - - - ib. Aida(TKaXiai of Aristotle - - - - - 5 Plays exhibited at first in carts - - - - ib. Prizes for Tragedy and Comedy - - - - ib. Rise of Tragedy and Comedy from the Feasts of Bacchus - 6 Title of Thespis to the Invention of Tragedy - - ib. Arundel Marbles - - - - - - ib. Epigrams of Dioscorides on Thespis - - - - 7 Trina Dionysia _-.--- s - Dancing used by the ancient poets in choruses - - ib. - Claims of Epigenes to the Invention of Tragedy refuted - 9 Whether Thespis icrote Tragedies - - - - ib. Heraclides, a forger of Tragedies - - - - 10 The Alcestis of Thespis - - - - - ib. Supposed fragment of Thespis in Clemens Alexandrinus - 11 Early Greek Alphabet - - - - - ib. Bacchus and the Satyrs the subject of the early plays - 12 Serious Tragedy introduced by Phrynicus and iEschylus - ib. Spurious Fragments of Thespis - - - - 13 Age of Thespis: from the Arundel Marble - - - 14 Testimony of Suidas - - - - - - ib. Play of Phrynichus, entitled " The Taking of IVIiletus" - 15 Phcenissee of Phrynichus - - - - - ib. ^schylus's Persse borrowed from it - - - - ib. Date of Phrynichus's first tragic victory - - - 16 Opinion that there were two Phrynichuses tragic poets examined ib. Phrynichus the general, a distinct character - - - 18 Allusions to Phrynichus in Ai'istophanes - - - 19 Phrynichus famous for his songs - - - - ib. Explanation of a passage in the Wasps of Aristophanes - 20 Allusions to the dancing of Phrynichus - - - 21 Authorities of Diogenes Laertius and Plutarch with regard to the date of Thespis examined . . . . 22 VI CONTENTS. Page- Tragedy not older than Thespis - - - - 23 A passage of Plutarch on this point misunderstood - - 24 How far the Sicyonians may be considered as the inventors of Tragedy - - - - - - - ib. Satyrical Plays of the Greeks, and Satire of the Romans - 25 T'he Cyclops, a satyrical Play - - - - ib. Origin of the Proverb ? I ajxa£t]v Xkyeir^ &c. - - - 26 Origin of the name Tragedy - - - - - 27 Name not older than Thespis - - - - ib. Early Bacchic hymn, called Dithyramb - - - 28 Inventor of the Dithyramb - - - - - ib. Distinction between -pvywdia and rpayt^dia - - - ib. Euripides compared with iEschylus and Sophocles - - 29 'lf):iy<^Lut never signifies Comedy - - - - ib. The Cyclian Chorus - - - - - - 30 Simonides - - - - - - - ib. A Bull, the prize of Dithyramb - - - - 31 A Calf, the prize of the KtOapi^coi - - - - ib. Corrupt reading in the Prolegomena to Aristoph. - - 32 Meaning of Tpvyojcia and Kwyuwcia - - - - 33 Scenes and other ornaments introduced by ^schylus - 34 Ancient tragedy not sumptuous - - - - ib. Heroes of Euripides how brought on the stage - - ib. Expense of a tragic chorus, from Demosthenes and Lysias - 35 Metaphorical use of -payc^Ua for sumptuousness - - 36 ExTKACTS FROM CuMBEKLANd's OBSERVER - - 37 — 67 Of Thespis's pretensions as the Father of Tragedy - - 37 Nature and Character of the first Drama - - - 40 Of the tragic poets Pratinas and Phrynichus - - - 44 Of the poet ^schylus - - - - - 46 .lEschylus compared with Sophocles and Euripides - - 48 Of Epichavmus as the First Writer of Comedy - - 51 Epicharmus, Pliormis, Chionides, Magnes, and Dinolochus, Founders of Comedy - - - - - 52 Of the old Comedy - - - - - - 53 Cratinus - - - - - - -54 Eupolis - - - - - - -55 Of Ai'istophanes : his History, Character, and Works - 5Q Remaininiij AA'riters of the Old Comedy - - - 60 Of the Mtddle Comedy - - - - - 62 Catalogue of the Writers of the Middle Comedy - - 63 New Comedy and its Writers - - - - 64 Extracts from the Preface to Francklin's Sophocles - 67 — 81 Of the Parts of Ancient Tragedy - - - - 67 — ^ On the Chorus - - - - - - 70 On the iSIasks - - - - - - 75 Of the Time when Tragedy fiourished in Greece - - 77 Of the three "creat Tragedians - - - - 79 General Observations on the Greek Drama : by T. Campbell 82—94 On the Site and Construction of the Dionysiac Theatre - 90 Plan of the Theatre 92 Brief Outline of the Progressive Stages of the Drama : Bir A.NTHON - - - - - - 95—98 CONTENTS. Vll Page On the Style of Euripides, erom Porson's Pr^lectio in euripidem - - - - _ 99 — -106 Miscellaneous Observations - - - - 106 — 126 Reason of sacrificing a goat to Bacchus - - - 106 — Duties of the Chorus ----- ib. -^ Number of the Chorus - - - - - 107 Regulations with respect to providing and training a Chorus : Xopov aiTuv^ dovvai, \a(3dv, diSdcTKeii' _ _ . 108 AidaffKeiv Spafia, docere fahulam - - - - 109 Number of Actors limited to three - - - - 109 Satyric Drama - - - - - -111 Doric Dialect in the Choruses - - - - 112 'EjUjUtXsja, axvp^ctTtty KopcaE, (t'ikivvlq - - - - ib. Prolixity of the Tragic Chorus ridiculed by Aristophanes - ib. Claims of Tragedy to Dignity - - - - 113 Trochaic Measure - - - - - -114 Prologues of Euripides -- - - -115 Yldpo^oc^ E(croc?og, 'MiTavdaTamg _ _ _ _ ib. Choral Odes. Srdatjua, Kofiiiol - - - - 116 Language of Tragedy - - - - - ib. Exhibition of Tetralogies - - - - -117 Testimonies of Aristotle and Longinus in favour of Euripides - 118 Derivation of i'lroKptrijc - - - - - ib. Aida, 'OKpii^ag^ 'EKMarpa or 'EicKVK\riiA,a - - ib. Costume of the Actors - - - - - 125 Chronology or the Drama : from Clinton's Fasti Hellenici 126 — 132 On Prosody .__..- I33 — 137 On Greek Metres - - - - - - 137 — 165 Iambic Metre . . . . . 139 — 145 Trochaic Metre - - - - - - 146 Anapaestic Metre - - - - - -149 Comic Metres - - - - - -151 Dactylic Metre - - - - - - 153 Ionic a Majore -___.. 155 Ionic a Minore - - - - - - ib. Choriambic Metre - - - - - -157 Antispastic Metre - - - - - -161 Dochmiac Verses - - - - - -162 Pseonic Metre - - - - - -163 Versus Prosodiacus - - - - - - ib. Cretic Verses - - -•- - -164 Versus Asynarteti - - - - - - ib. Analysis or Metres in Choruses - _ _ i65 — 170 On the Synapheia in ANAP-a:sTic Verse : from Bentley's Phalaris ------ 171 — 179 Vlll CONTENTS. Pages Metrical Canons : from Elmsley's Review of Hermann's SuppLicES ------ 179 — 185 On THE Ictus JVIetricus : by Prof. Dunbar - - 185 — 198 Porson's Canons ------ igg — 210 Canons and Remarks : from Blomfleld's -^schylus - 210 — 226 Canons and Remarks : from Monk's Hippolytus and Alcestis 226 — 235 Canons and Remarks : from Elmsley's (Ed. Col. - 235 — 253 Canons from Dawes's IVIiscellanea Critica - - 253 — 266 On the Dialect of the Tragedians. By C. G. Haupt - 266 — 278 A GUIDE TO THE READI^^G OF THE GREEK TRAGEDIANS. TRAGEDY AND COMEDY. FKOM BENTLF.Y'S DISSERTATION ON PHALARIS. ORIGINAL METEE OF TRAGEDY AND COMEDY. It was a good while after the invention of tragedy and comedy before the iambic measm'e was used in them. Aristotle assures us of this, as far as it concerns tragedy : " the measure," says he, "in tragedy, was changed from tetrametres to iambics; for at first they used tetrametres, because the trochaic foot was more proper for dancing." And the same reason will hold for comedy too : because that, as well as tragedy, was at first " nothing but a song performed by a chorus dancing to a pipe." It stands to reason, therefore, that there also the tetrametre was used, rather than the iambic ; which, as the same Aristotle observes, was fit for business rather than dancing, and for dis- course rather than sin2:ino^. NATURE OF TRAGEDY AND COMEDY AT THEIR COMMENCEMENT. Both tragedy and comedy, in their first beginnings at Athens, were nothing but " extemporal " diversions, not just and re- gular poems ; they were neither published, nor preserved, nor written ; but, like the entertainments of our merry-andrews on the stages of mountebanks, were bestowed only on the present Guide ^ , B 2 TRAGEDY AND COMEDY. assembly, and so forgotten. Aristotle declares this expressly: " both tragedy and comedy," says he, " were at first made ex tempore : " and another very good writer, Maximus Tyrius, tells us — " that the ancient plays at Athens Avere nothing but choruses of boys and men, the husbandmen in their several parishes, after the labours of seed-time and harvest, singing extemporal songs." Donatus, or whoever is the author of that discourse about comedy, says, — " Thespis was the first that wrote his plays, and by that means made them public." EPICHARMUS THE INVENTOR OF WRITTEN COMEDY ; NOT SUSARION. This, perhaps, may be the true reason why the most of those that have spoken of the origin of comedy make no mention of Susarion and his contemporaries, but ascribe the invention of it to Epicharmus. For, as it seems, nothing of that kind was written and transmitted to posterity before the time of that Sicilian. Theocritus therefore (Epigr. 17.) is express and posi- tive that Epicharmus invented comedy : At2 cfxova A(opco9, ')(0)vrjp 6 tclv Kco/awSlav ^VpWV ^^TTi')(aplJLOS. ^^ Comedy," says Themistius, " hegan of old in Sicily ; for Epicharmus and Phormus were of that country." " Epichar- mus," says Suidas*, "together with Phormus, invented comedy at Syracuse." And Solinus, in his description of Sicil}^, — " Here," says he, " was comedy ^;?r5^ invented.'''' " Some are of opinion," says Diomedes, "that Epicharmus j'?;'5^ made comedy." Aristotle makes some small intimation of Sugarion's pretences ; but he expresses himself so, that he does as good as declare in favour of Epicharmus. I will give the reader his own words : — " The pretenders," says he, " to the invention of comedy, are the Megarenses, both those here, (he means the Megarenses near Attica,) and those in Sicily : for Epicharmus was of that place, who is much older than Chionides and Magnes." When he says the ]Megarenses that are here, he may hint, perhaps, at Susarion, who was born at that Megara ; but he plainly signi- fies that his claim was of no great weight, by passing him over without a name. He might allow him to be the author of some " extemj^ore" farces, that may be called the first rudiments of comedy ; and this is all that with justice can be granted him. * For an account of this Lexico- is a. d. 975, see Anthon's ed. of Lem- grapher, the period assigned to whom priere's Classical Dictionary. TRAGEDY AND COMEDY. 3 WRITTEN COMEDY MORE RECENT THAN TRAGEDY. With this opinion all those fall in who assert that comedy is more recent than tragedy : for the same persons suppose The- spis to be the inventor of tragedy, who lived about Olymp. Ixi.* Horace (A. P. 281.), after he had given an account of the rise of tragedy and satyr — After these, says he, came the old comedy : ^'^ successit vetus his comcedia.'''' ^^ His,''^ says the ancient Scholiast, "scil. satyrce et tragoedicE.''^ And Donatus is very positive — That tragedy is senior to comedy, both in the subject of it, and the tune of its invention. AGE OF EPICHARMUS. It is well known, that Epicharmus lived with Hiero of Syra- cuse : and the author of the Arundel Marble places them both at Olymp. Ixxvii. 1. when Chares was archon at Athens. Epi- charmus lived to a very great age, to 90 years, as Laertius says, or to 97, as Lucian. ACCOUNT OF FHORMUS. HIS TRUE NAME, PHORMIS. With respect to Phormus, who is joined v/ith Epicharmus, his name is written in different ways. Athen?eus and Suidas call him Phormus ; but Aristotle, Phormis. In Themistius it is written Amorphus, which is an evident depravation. Some karned men would write it Phormus, too, in Aristotle : but if that be true which Suidas relates of him, that he was an ac- quaintance of Gelo the Syracusian, and tutor to his children, the true reading must be Phormis : for he is the same Phormis that, as Pausanias tells us, came to great honour in the service of Gelo, and of Hiero after him. SUMMARY OF THE ARGUMENT. On the whole matter, I suppose that it will be allowed — that the authorities for Epicharmus are more and greater than * In order to convert the date in cause the current Olympiad is four Olympiads to the year b. c, observe years, and the current year is one) ; that the first Olympiad took place subtract the result from 776, and the 776 B. c. Multiply therefore the remainder will be the year b. c. re- Olympiad by 4, to the product add quired. Thus, the age of Thespis the current year or years of the being Ixi. 1., 61 X 4 or 244 + 1—5 = Olympiad, deducting five years (be- 240 : and 776 — 240 = 536 b. c. 15 2 4 TRAGEDY AND COMEDY. those for Susarion ; that, allowing Susarion to have contributed something towards the invention of comedy, yet his plays were extemporal, and never published in Avriting ; and that, if they were published, it is more likely they were in tetrametres and other chorical measures, fit for dances and songs, than in iambics. OBJECTION FROM THE EXISTENCE OF SOME IAMBIC LINES ASCRIBED TO SUSARION. It is true there are five iambics extant that are fathered upon Susarion, and perhaps may really be his : 'Akovsts \sco9' ^ovcrapicov Xsyst rdhs, Tlos ^iXiVOv, ^'IsyapoOsv, TptiTohLcrKios' K.aKov jupoLKSs' aXX' ofxays, o) Brj/jLorat, OvK SCTTLV OLKSLV OLKiaV dvSV KaKOV, Kat fyap to jij/juao, kol to /jlt) ji^pLaL, KaKov. Diomedes Scholasticus, in his commentary on Dionysius Thrax, introduces these verses of Susarion with these words : — " One Susarion was the beginner of comedy in verse, whose plays were all lost in oblivion; but there are two or three iambics of a play of his still remembered." Here is an express testimony, that Susarion used iambics in his plays : though I have newly endeavoured to make it probable, that, in the first infancy of comedy, the iambic Avas not used there ; as we are certain from Aristotle that it was not in tragedy. OBJECTION ANSWERED. Uapd/SaatS. But I have one or two exce23tions against Diomedes's evi- dence. First, he stands alone in it ; he is a man of no great esteem; he lived many hundi'eds of years after the thing he speaks of; so that it ought to pass for no more than a conjecture of his own. And again, I would have it observed, that these five iambics are spoken in the person of Susarion ; which will go a great way towards a proof that they are no part of a plai/. For, when the poet in his own name would speak to the spec- tators, he makes use of the chorus to that purpose, and it is called a Hapd^aat?; of which sort there are several now extant in Aristophanes. But the measures that the chorus uses at that time are never iambics, but always anapassts or tetrametres. And I beheve there is not one instance, that the chorus speaks at all to the pit in iambics; to the actor it sometimes does. TRAGEDY AND COMEDY. 5 And, lastly, if these verses of Susarlon's had been known to be borrowed from a jjlay^ it could not have been such a secret to Aristotle. For it is plain, I think, that he had met with no certain tradition of any play of Susarion's : if he had, he would never attribute the invention of comedy to the Sicilians, so long after him. This argument Avill not seem inconsiderable, if we remember what an universal scholar that philosopher was ; and that he had particularly applied himself to know the history of the stage, haA^ng Avritten a treatise of the AtSacr/caXiat, an ac- count of the names, and the times, and the authors of all the plays that ever were acted. If the verses, therefore, are truly Susarion's, it is probable they were made on some other occa- sion, and not for the stage. PLAYS CARRIED ABOUT AT FIRST IN CARTS. The Cln'onicon Marmoreum, which is now at Oxford, and makes part of the glory of that noble university, has a passage in a worn and broken condition, which I would thus fill up : A<^' ov Iv airrjvais KWjJLwhlai scfyopsOrjaav inro roiv 'iKapcscov svpov- T09 ^ovcrapLcovo9, Kal adXov srsdrj irpcoTov, laj^ahwv apai')(09, kol oLvov dfjL(popsv9, that is, " Since comedies were carried in carts by the Icarians, Susarion being the inventor ; and the prize was first proposed, a basket of figs and a small vessel of wine." That in the beginning the plays were carried about in carts, we have a witness beyond exception: Hor. A. P. 275. Io;notum Trao'icce o!;enus invenisse Camenae Dicitur, et plaustris vexisse poemata Thespis. And so the old Scholiast upon the place — " Thespis primus tragoedias invenit, ad quas recitandas circa vicos plausfro quoque vehebatur ante inventionem scenje." PRIZES FOR TRAGEDY AND COMEDY. As for the prizes for the victory, I think I can fairly account for them out of a passage in Plutarch : " Anciently," says he, " the feast of Bacchus was transacted country-like and merrily : first there was carried {afjLc^opsvs oXvov) a vessel of icine and a branch of a vine ; then followed one that led a goat (rpdyov) after him; another carried (tV^aS&ji^ appixov) a basket of Jigs; and last of all came the phallus (6 ^aXXo^y B 3 6 TRAGEDY AND COMEDY. RISE OF TRAGEDY AND COMEDY FROM THE FEASTS OF BACCHUS. Xow as both tragedy and comedy had their first rise from this feast of Bacchus ; the one being invented by those that sang the dithyramb, and the latter by those that sang the phallic ; so the jorizes and rewards for those that performed best were ready upon the spot, and made part of the procession — the vessel of ivine and the basket of Jigs were the premium for comedy, and the goat for tragedy : both the one and the other are expressed in the verses of Dioscorides, which will be quoted afterwards. Can we then suppose that Susarion made regular and finished comedies, with the solemnity of a stage, when we see that the prize he contended for was the cheap purchase of a cask of wine, and a parcel of dried figs? These sorry prizes were laid aside when comedy grew up to maturity ; and to carry the day from the rival poets was an honour not much inferior to a victory at Olympia. TITLE OF THESPIS TO THE INVENTION OF TRAGEDY: TES- TIMONIES OF THE ARUNDEL MARBLE*, DIOSCORIDES, HORACE, PLUTARCH, CLEMENS OF ALEXANDRIA, ATHE- N^US, SUIDAS, DONATUS. TRAGEDIES AND COMEDIES ACTED AT THE TRINA DIONYSIA. DANCING MUCH USED BY THE ANCIENT POETS IN THEIR CHORUSES. The famous chronological inscription in the Arundel Marble, which was made Olymp. cxxix. in the' time of Ptolemy Phila- * " Thomas Howard, Earl of Arun- rest of the collection. The inscrlp- del, who lived in the time of James tions were inserted in the wall of the and Charles the First, devoted a large garden at the back of Arundel House, portion of his fortune to the col- in the Strand, and were examined, lection of monuments, illustrative of soon after they had been placed there, the arts and of the history of Greece by Selden and two other scholars, at and Rome. Pie employed men of the recommendation of Sir Robert learning to travel at his expense in Cotton. Those learned men used quest of such treasures; among others, their utmost endeavours in cleaning Mr. William Petty, who explored, and deciphering these monuments, sometimes at the risk of his life, the and succeeded, with great hibour and ruins of Greece, the Archipelago, and difficulty, in deciphering 29 of the the shores of Asia Minor; and sue- Greek, and 10 of the Latin inscrip- ceeded in procuring above 200 relics tions, those which Selden judged to of antiquity. Among them were those be of the greatest importance; and of which we are about to speak, and in the following year he published which, in honour of their noble col- them, in a thin folio volume, under lector, have been called the Arun- the title of Marynora ArundelUana. delian Marbles. They arrived in The noble family of Arundel was England in the year 1627, with the compelled to abandon its mansion, TKAGEDY AND COMEDY. delphus, above 260 years before Christ, declares that Thespis was the first that gave being to tragedy. Besides him, the epi- grammatist Dioscorides gives the invention of it to Thespis : %scnTiho9 svps/jua rovro' rdB' a/ypoca)Tiv av v\av Tialyvca, koX kco/jlovs' rovcrSs raXsLorspovs Ai(T')(y\o9 s^v^coas, vsocr/jLiXsvra '^(apa^as Tpd/x/i.LaTa, ')(SifJLdpp(p 8' ola Karaphofisva' Kat rd Kara ctk'ijvijv /jUsrsKaiVLcrsv ' m aro/jca Trdvrcov As^LOV dp^aicov, rjaOd tls rj/aidscov : s^vyjrcoas, he raised and exalted the style of tragedy by vsoa/jLL- Xsvra ypdfi/iara, his new-made and neic-carved words, which is the very thing that Aristophanes ascribes to him : iVXV 0} irptJdTos Tcov '^Xkrjvwv Trvpycocra^ prj/iara crspbvd : and the writer of his life: — lirfkol to dBpov /cal virspoyKov, ovofjuaTOTTOitaLs fcal sttlOstols ')(^pco/jisvo^. But our e^iigrammatist, though he gives ^"Eschylus the honour of improving tragedy, is as j)ositive that svpsfia, the inventioji of it, belongs to Thespis ; during the civil wars, to the Com- monwedth ; and the parliament, who put it under sequestration, suffered the collection of marbles deposited in its garden to be plundered and de- faced in the most shameless manner ; and it is supposed that not more than half of the original number escaped dispersion or destruction in that dis- astrous period. A better fate awaited that portion of these reliques which was preserved; for it was presented by Henry Howard, Duke of Norfolk, grandson of the collector, to the Uni- versity of Oxford. Humphrey Pri- deaux, afterwards Dean of Norwich, a man of profound and various learn- ing, undertook the publication of the whole collection, and brought out his work in 1676. They were again re- printed in 1732, under the care of Maittaire ; and, subsequently, in a more exact and splendid manner, by the learned Dr. Chandler, in 1763, nearly a century after the original publication. Some of these inscrip- tions record treaties and public con- tracts ; others are memorials of the gratitude of the state to patriotic in- dividuals ; but by fir the greatest number are sepulchral, and entirely of a private nature. One, however, has deservedly attracted more notice than the rest ; it is commonly known B by the name of the Parian Chronicle ; because it is, in fact, a chronological table of events, and appears to have been made in the Island of Paros. This stone was, in the time of Selden, two feet seven inches in height, and six feet six inches in breadth ; con- taining ninety-three lines, arranged in two columns. It originally contained a chronological account of the prin- cipal events in Grecian, and particu- larly Athenian history, during a pe- riod of 1318 years, from the reign of Cecrops to the archortship of Diogno- tus, B. c. 264 ; but it has suffered considerable injury, much of it hav- ing been effaced, so that it now ter- minates with the archonship of Dioti- mus, B. c. 354, about ninety years earlier than the period to which it originally extended. Had not Selden most fortunately transcribed it with peculiar care, a great portion of it would have been irrecoverably lost ; for no less than thirty- one out of seventy-nine epochs, legible upon it, in his time, have been knocked off, for the purpose, it is said, of repairing a fireplace. The epochs are all dated retrospectively from the archonship of Diognotus at Athens, 264 years B. c, and briefly record the most im- portant events, in the order in which they took place." — Encycl. Metrop. 4 8 TrwAGEDY AND COMEDY. whlcli will further appear from another epigram, by the same hand, made on Thespis himself: Ss(T7rL9 cSs, TpaytKYiv 09 avsirXaas irpoiTOS dotSrjv, K.co/jiyTai9 vsapas KatvoTOfiojv yapuas, Ba/c^os" OTS rpLTTov Karayoi '^opov, u> rpdyos dOXov, X' (DTTLKOS TjV GVKWV dppi')(09, vOXoS STL '. Cum Bacchus ducat triplicem chorum ; cui Hircus, Et cui Attica Jicuum cista prceinium erat, ut adliuc fahula est. By the three choruses of Bacchus Dioscorides means the Trina Dionysia, the three festivals of Bacchus ; the ^tovvaia rd sv Aifivacs, the AtovixTta rd Kar* dcrrv, and the t^iovvcria rd Kar dypovs : at which times, that answer to March, April, and Ja- nuary, both tragedies and comedies were acted. Afterwards, indeed, they added these diversions to the TiavaOrjvaia, which fell out in the month of August ; but, because this last was an innovation after Thespis's time, the poet here takes no notice of it. But, to dismiss this ; the substance of the epigram imports — That Thespis was the Jirst contriver of tragedy, which was then a new entertainment. After Dioscorides, we have Horace's testimony in Thespis's favour, in Arte Poet, 275, lo'notum trao'icfe o-enus invenisse Camena3 Dicitur, et plaustris vexisse poemata Thespis, Qui canerent agerentque peruncti fa^cibus ora. And I think this poet's opinion is not only well explained, but confirmed too, by the old Scholiast, who tells us — " Thespis was the Jirst inventoi' of tragedy." To all these we may add Plutarch, whose expression implies something further — *' That Thespis gave the rise and beginning to the very rudiments of tragedy ; " and Clemens of Alexandria, who makes Thespis the "^ contriver of tragedy, as Susarion was of comedy." And, without doubt, Athenseus was of the same judgment, when he said, '^ Both comedy and tragedy were found out at Icarius, a place in Attica ; " for our Thespis was born there. In another place Athenreus says — " The ancient poets The- spis, Pratinas, Cratinus (the true reading I take to be l^apiclvos, an ancient tragic poet, burlesqued once or twice by Aristophanes for this very dancing humour), and Phrynichus were called 'O^- 'XTjartKol, dancers, because they not only used dancing so much in the choruses of their plays, but they were common dancing- masters, teaching any body that had a mind to learn." Now, if we compare this with what Aristotle says, — That tragedy in its infancy was op^TjaTiKCdripa, more taken up witli dances, than afterwards ; it will be plain, that Atliena3us knew no ancienter tragedian than Thespis ; for, if he had, it had been to his purpose TRAGEDY AND COMEDY. 9 to name him. Again, Suidas acquaints us, — That Phrynichus was scholar to Thespis, who first introduced tragedy; and Do- natus passes his word — That, if we search into antiquity, we shall find that Thespis was the first that invented it. It is in- credible, therefore, that the belief of his first inventing tragedy should so universally obtain, as we have shown it did, if any tragedies of an older author had been extant in the world. CLAIMS OF EPIGENES REFUTED. The pretences that are made against Thespis, are for one Epigenes, a Sicyonian. This is the only person, mentioned by name, that can contest the matter with Thespis. And who is there that appears in behalf of this Epigenes ? But one single witness, and he, too, does but tell us a hearsay, which himself seems not to believe. " Thespis," says Suidas, " is reckoned the sixteenth tragic poet after Epigenes, a Sicyonian ; but some say, Thespis was the second after him ; and others, the very first of all. And again, where he explains the proverb, Ovh\v irpos Tov iliovvaov : it was occasioned, he says, by a tragedy of Epi- genes, a Sicyonian ; but he adds that others give a different and better account of it. Now, if this is all that is said for Epi- genes's plea, nay, if it be all that is said of him upon any account (for I think nobody mentions him besides Suidas), I suppose this ill-supported pretence to tragedy will soon be overruled. It is true, there are two very great men, Lilius Gyraldus and Gerard Yossius, besides others, who affirm that this same Epi- genes is cited, and some of his tragedies named, by Athena?us. But I affirm that the Epigenes in Athena^us was a comic poet, and many generations younger than his pretended namesake the tragedian. Suidas himself is my voucher. " Ej:)igenes," says he, " a comic poet, some of his plays are 'H|9aiV^, and MrTj/jbdrLoi, and Ba/c;^£ta, as Athen^eus says in his Deipnosophists." Correct 'Upco'lvTj for 'Hpatvi], and IBaK^sla for l^aic')(Ela, THESPIS PUBLISHED NOTHING IN WRITING. Xay, I will go a step further, and freely own my opinion — That even Thespis himself published nothing in writing : yet the Arundel Marble mentions the "A\K7]arcs of Thespis, and Julius Pollux his IIsv6sv9, and Suidas four or five more ; and Plutarch, with Clemens Alexandrinus, produces some of his verses. No question but these are strong prejudices against my new assertion, or rather susj^icion : but the sagacious reader will better judge of it, when he has seen the reasons I go on. 10 TRAGEDY AND COMEDY. HERACLIDES PUT OUT TRAGEDIES IN THESPIS'S NAME. This I lay down as the foundation of what I shall say on this subject, — That the famous Heraclides of Pontus set out his own tragedies in Thespis's name. Aristoxenus the musician says (they are the words of Diogenes Laert.) — • " That Heracli- des made tragedies, and put the name of Thespis to them." This Heraclides was a scholar of Aristotle ; and so was Ari- stoxenus too, and even a greater man than the other : so that I conceive one may build on this piece of history, as a thing un- deniable. Now before the date of this forgery of Heraclides, we have no mention at all of any of Thespis's remains. Aristotle, in his Poetry, speaks of the origin, and progress, and perfection of tragedy ; he reads a lecture of criticism on the fixbles of the first writers : yet he has not one syllable about any piece of The- spis's : this will seem no small indication that nothing of his was preserved : but there is a passage in Plato that more manifestly implies it. " Tragedy," says he, '^ is an ancient thing, and did not commence, as people think, from Thespis nor from Phry- nichus.'' Now, from hence I infer, if several persons in Plato's time believed tragedy w^as invented by Phrynichus, they must never have seen nor heard of any tragedies of Thespis. For, if they had, there could have been no controversy, which of the two was the inventor ; for the one was a whole generation younger than the other. But Thespis's tragedies being lost, and Phrynichus's being the ancientest that were preserved, it was an inducement to several to believe him the first author. It is true, indeed, that, after the time of Heraclides, we have a few fragments of Thespis's quoted, and the names of some of his plays ; but I will now show that every one of those passages are cited from Heraclides's counterfeit tragedies, and not the works of the true Thespis. NO PLAY OF THESPIS WITH THE TITLE OF ALCESTIS. As for the author of the Arundel Marble, Avho was but a little younger than Heraclides and Aristoxenus, and might pos- sibly know them both, he is commonly indeed supposed to men- tion Thespis's "AX/crjan^. But besides the uncertainty of the word, which is now wdiolly effaced in the marble, the very in- scription itself evinces that it ought not to be read AAKHSTIN: for the author of it never sets down the name of any pla?/ ; not when he gives the date of ^schylus's first victory; not when he speaks of Sophocles's ; not where he mentions Euripides's ; nor TRAGEDY AND COMEDY. 11 upon any other occasion. And it is utterly improbable that he would do it in one single place, and omit it in so many others that equally deserved it. Add to all this the express testimony of Suidas, — That Phrynichus was the first that made women the subject of tragedy ; his master Thespis having introduced nothing but men. There could be, therefore, no play of The- spis's with the title of Alcestis. SPURIOUS PASSAGE IN CLEM. ALEXANDRINUS ASCRIBED TO THESPIS. I shall now consider the passage in Clemens Alexandrinus : — " Thespis, the tragic poet (says that excellent author), writes thus : — "I3e aoi aTTsvBco KNAHZBI to Xsvkov, 'Atto Orjkajjiovwv dXi-^as Kva/ccov. "I8s aoL XQTIITHN rvpov fxi^as ^^pvOput jjisXiTi, Kara tcov ao)V, Tlav AiK£pa)9, rlOs/jLai ^co/bucov dylcov. "18s (TOL BpofjLLov aWoTTa ^AEFMON AsljSco:' This supposed fragment of Thespis, as Clemens himself ex- plains it, and as I have further proved out of Porphyry, relates to those four artificial words — Kva^J^l, X.6v7rT7]9, ^Xsy/jicd, Apoyjr, which comprehend exactly the whole tAventy-four letters of the Greek alphabet. Now I say, — If these twenty-four letters were not all invented in Thespis's time, this cannot be a genuine fragment of his. EARLY GREEK ALPHABET. We must know then, that it was a long time after the use of Greek writing, nay of writing books too, before the Greek al- phabet was perfected, as it now is, and has been for 2000 years. It is true, there were then the very same sounds in pronunciation (for the language was not altered), but they did not express them the same way in writing. E served in those days for both E and H ; as one English E serves now for two distinct sounds in THEM and THESE. So O stood for both O and H : and the sound of Z was expressed by AX, of H by K5), of "^ by H^: and the three aspirates were written thus, TH, HH, KH : which were afterwards ©, , X. At that time we must imagine the first verse of Homer to have been written thus — MENIN AEIAE THEA HEAEIAAEO AKHIAE05;. 12 TRAGEDY AND COMEDY. And the same manner of writing was in Thespis's time ; be- cause the alphabet was not completed till after his death. For it is universally agreed^ that either Simonides, or Epicharmus, or both, invented some of the letters. And Epicharmus could not be above twenty-seven years old, and very probably was much younger, at Olymp. Ixi., which is the latest jDcriod of Thespis: and Simonides at the same time was but sixteen. This passage therefore ascribed to Thespis is certainly a cheat ; and in all probability it is taken from one of the spurious plays that Heraclides fathered upon him. In the next place, I will show that all the other passages quoted from Thespis are belonging to the same imposture. BACCHUS AND THE SATYRS THE SUBJECT OF EARLY PLAYS. SERIOUS TRAGEDY INTRODUCED BY PHRYNICHUS AND ^SCHYLUS. Zenobius informs us — " That at first the choruses used to sing a dithyramb to the honour of Bacchus : but in time the poets left that off, and made the giants and centaurs the sub- jects of their plays. Upon whicli the spectators mocked them, and said, — That was nothing to Bacchus. The poets therefore sometimes introduced the Satyrs, that they might not seem quite to forget the god of the festival." To the same purj^ose w^e are told by Suidas — " That at first the subject of all the plays was Bacchus himself, with his company of Satyrs ; upon which account those plays were called '^arvpLKai but after- wards, as tragedies came into fashion, the poets went off to fables and histories, which gave occasion to that saying — This is nothing to Bacchus." And he adds — "That Chamaileon says the same thing in his book about Thespis." This Chamteleon was a very learned man, and a scholar of Aristotle's. And we may gather from the very name of this treatise of his, that Thespis was some way concerned in this alteration of tragedy ; either he was the last man that used all satyrical plays, or the last man that left them off. But whether of the two it was, we could not determine, unless Plutarch had helped us out in it. " When Phrynichus and iEschylus," says he, " turned the sub- ject of tragedy to fables and doleful stories, the people said, — What is this to Bacchus ? " For it is evident, from this passage of Plutarch compared with the others before, that the true Thespis's plays were all satyrical (that is, the plot of them was the story of Bacchus, the chorus consisted of Satyrs, and the argument was merry) ; and that Phrynichus and ^schylus were the first introducers of the new and doleful tragedy. Even TiJAGEDY AND COMEDY. 13 after the time of Thespis, the serious tragedy came on so slowly, that of fifty plays of Pratinas, who was in the next generation after Thespis, thirty-two are said to have been satyrical. HENCE THE FRAGMENTS GENERALLY ASCRIBED TO THESPIS ARE INFERRED TO BE SPURIOUS. Let us apply now this observation to the fragments ascribed to Thespis ; one of which is thus quoted by Plutarch : 'Opa9 ore Zsv9 tojSs irpcorzvsi, dscov, Ov ylrsvSos ovBs KOfJbiTov, ov jbucopov ysXcov ^AcTKWP' TO 8' r)Sv fJLOVVOS OVK STTLCTTaTaU " What differs this," says Plutarch, " from that saying of Plato, That the Deity was situated remote from all pleasure and pain?" Why, truly, it differs not at all; and I think there needs no other proof that it could not belong to a satyrical ludicrous play, such as all Thespis's were. For surely this is not the language of Bacchus and his Satyrs ; nay, I might say, it is too high and philosophical a strain even for Thespis himself. But suppose the author could have reached so elevated a thought ; yet he would never have put it into the mouth of that drunken voluptuous god, or his wanton attendants. Even ^schylus, the grave reformer of the stage, would rarely or never bring in his heroes talking sentences and philosophy, be- lieving that to be against the genius and constitution of tra- gedy ; much less then would Thespis have done so, whose tragedies were nothing but droll. It is incredible, therefore, that this fragment should be genuine : and we may know at whose door to lay it, from the hint afforded to us by Plutarch, though he was not aware of it. For the thought, as he has shown us, was Plato's ; and to whom then should the fragment belong, but to Heraclides, the counterfeit Thespis, who was at first a scholar of Plato's, and might borrow the notion from his old master ? Another verse is quoted by Julius Pollux out of Thespis's Pentheus : "Ep7ft) vofjLt^s vsvplhas s'^scv sttsvSvttjv. Where for vsvplhas s^slv, we may correct it vs/SplS^ %^^^' Now the very titles of this play UspOsvs, and of others men- tioned by Suidas — ^A6\a Tlskiov 7) ^op^as, and '\spsls, and 'Hii^sot, do sufficiently show, that they cannot be satyrical plays, and consequently not Thespis's, who made none but of that sort. The learned Casaubon, after he has taught us from 14 TRAGEDY AND COMEDY. the ancients, that Thespis was the inventor of satyrical plays — " Yet among the plays (says he) that are ascribed to Thespis, there is not one that appears to have been satyrical. lJsv6svs indeed seems to promise the fairest to be so ; but we have ob- served, that the old poets never brought the Satyrs into the story of Pentheus." The result of the whole is this — That there was nothing published by Thespis himself; and that Heraclides's forgeries imposed upon Clemens, and Plutarch, and Pollux, and others. AGE OP THESPIS: PROM THE ARUNDEL MARBLE. With respect to the age of Thespis, the witness that upon all accounts deserves to be first heard, is the author of the Arundel Marble ; for he is the ancientest writer now extant, that speaks of his age : he is the most accurate in his whole performance, and particularly he was curious and inquisitive into the history of poetry and the stage ; as appears from the numerous eras there, belonging to the several poets ; and, which is as consider- able an advantage as any, we have the original stone still among us ; so that his numbers (where they are still legible) are certainly genuine ; and not liable, as written books are, to be altered and interpolated by the negligence or fraud of transcribers. The very year, indeed, in which Thespis in- vented tragedy cannot now be known from the Marble ; for the numbers are worn out by time and weather; but we can ap- proach near to it. For we are sure it must be some year in the interval between the preceding and following epochs ; because the whole inscription proceeds in due order and succession of time. Now the preceding epoch is, — Cyrus's victory over Croesus, and the taking of Sardes ; which, as all the best chronologers, Scallger, Lydiate, Petavlus, &c., agree, was Olymp. lix. 1., or at lowest Olymp. Ivlii. 2. The following is — The beginning of Darius's reign, Olymp. Ixv. 1. Tragedy therefore was Invented by Thespis between the Olympiads lix. 1. and Ixv. 1. This account in the Marble establishes and is mutually esta- blished by the testimony of Suldas, who Informs us — That Thespis made (the first) play at Olymp. Ixi., which period falls in between the two epochs that go before and after Thespis. TRAGEDY AND COMEDY. 15 DATE OF PHEYNICHUS CONFIRMS THAT OF THESPIS. PLAYS OF PHRYNICHUS, THE TAKING OF MILETUS, AND THE PHCENISS.E: the PERS^ of iESCHYLUS BORROWED FROM THE LATTER. Suiclas, to whom the whole learned world confess themselves much obliged for his accounts of the age and works of so many- authors, tells us Phrynichus was Thespis's scholar. Plato names them both together, as pretenders to the invention of tragedy ; so that if we can but fix the scholar's age, we may gather from thence the age of the master. Now Phrynichus made a tragedy at Athens, which he intituled MlXiJtov akwcns, The taking of Miletus. " Callisthenes says (they are the words of Strabo), that Phrynichus the tragic poet was fined by the Athenians a thousand drachms, for making a tragedy called — The taking of Miletus by Darius." And Herodotus, an older author than he — " When Phrynichus (says he) exhibited his play, — The taking of Miletus, the whole theatre fell into tears, and fined the poet a thousand drachms, and made an order that nobody ever after should make a play of that subject." But the taking of Miletus, the whole story of which is related by Herodotus, was either at Olymp. Ixx. or Ixxi., as all chronologers are agreed. And the tragedy of Phrynichus being made upon that subject, we are sure that he must be alive after Olymp. Ixx. But there is another tragedy of his, called ^oivLcrcrat, which will show him to have been still alive above twenty years after that Olympiad. It is cited by the Scholiast on Aristophanes ; and Atheneeus gives us an iambic out of it : '^aXjjiOLatv avTiairacrT asiSovrss fJLskrj, But the writer of the argument of ^schylus's Persae has the most particular account of it. " Glaucus (says he) in his book about the subjects of -PTNIX05; eaiaa5;ken • AAEIMANTOS HPXEN, i. e. " Themistocles of the parish of Phreari was at the charge ; Phrynichus made the tragedy : and Admiantus was archon." And I am apt to belie ve^ that Phoenissaj was this very play, which he made for Themistocles. For what could be a more proper subject and compliment to Themistocles, than Xerxes's defeat, which he had so great a hand in ? Now we are sure, from the name of the archon, that tliis was done at Olymp. Ixxv. 4. ; and how long the poet sur- vived this victory, there is nobody now to tell us. DATE OF PHRYNICHUS S FIRST VICTORY, OL. LXVII. IN- FERENCE : THAT THE INTRODUCTION OF TRAGEDY, BY THESPIS, WAS OLYMP. LXI. Suidas's words — That Phrynichus got the prize at Olymp. Ixvii. will be allowed to be meant of his first victory. For so we find in the Marble, that the first victories of ^schylus, Sophocles, and Euripides, are the only ones recorded. And if Phrynichus began at Olymp. Ixvii., then the distance between his first and last (that we know of) will be thirty-six years. And it hits too with Avhat the same Suidas has delivered about Thespis — That he exhibited a play at Olymp. Ixi. For if we interpret this passage, like the other about Phrynichus, that it was Thespis's first play, then the master will be older than the scholar by about twenty-five years, which is a competent time. And I humbly conceive, that all these liits and coincidences, when added to the express authority of the Marble, which sets Thespis after Olymp. lix., will bring it up to the highest proba- bility, that Thespis first introduced tragedy about Olymp. Ixi. THE OPINION THAT THERE WERE TWO PHRYNICHUSES EXAMINED. It has been thought that there were two Phrynichuses, both tragic poets. It is necessary therefore to examine this point, or else our argument from the date of Phrynichus's Phoenissas will be very lame and precarious : for it may be ]3retended the author of Phoenissie was not that Phrynichus that was Thespis's scholar. It is true there were two Phrynichuses that wrote for the stage ; the one a tragic, the other a comic poet ; that is a thing beyond question ; but the point that I contend for is, that there were not two Phr3aiichuses writers of tragedy. TRAGEDY AND COMEDY. ORIGIN OF THIS OPINION. The pretence for asserting two tragic poets of that name is a passage of Suidas ; who, after he had named ^pvvcy^os, &c. " Phrynichus, the son of Polyphradmon, or ^linyras, or Cho- rocles, the scholar of Thespis, and that his tragedies are nine, UXsupcovia, AlyvTrrtoL,^^ &c., subjoins, under a new head, ^pvvt^os, &c. "Phrynichus, the son of Melanthas, an Athenian tra- gedian ; some of his plays are WvSpofisBa, 'Hpcyovrj, and Tluppt'^aL.^^ This latter place is taken word for word out of Aristophanes's Scholiast, who adds, that the same man made the tragedy called « The taking of Miletus." GROUND UPON WHICH IT RESTS, SLIGHT. Now it may seem from these two jDassages, that there were two Phrynichuses tragic poets ; for the one is . called the son of jMelanthas, the other not : and the three plays ascribed to the latter are quite different from the nine that were made by the former. But to take off tliis pretence, I crave leave to observe that the naming his father Melanthas is an argument iof small force ; for we see the other has three fathers assigned to him ; so uncertain was the tradition about the name of his father : some authors therefore might relate, that his father was called Melanthas ; and yet mean the very same Phrynichus, that, according to others, was the son of Polyphi^admon. And then the second plea, that the plays attributed to the one are wholly different from those of the other, is even weaker than the former : for the whole dozen mentioned in Suidas might belong to the same Phrynichus. He says, indeed, Phiynichus, Polypln-admon's son, wrote nine plays ; because the author he here copies from knew of no more. But there might be more, notwithstandino^ liis not hearino- of them ; as we see there were really two — The taking of Miletus and Phoeniss^, that are not mentioned here by Suidas. NO AUTHOR MENTIONS MORE THAN ONE TRAGEDIAN OF THAT NAME. Having shown now what very slight ground the tradition about two tragedian Phrynichuses is built upon, I will give some arguments on my side, which induce me to think there was but one. And my first is, because all the authors, Herodotus, Callisthenes, Strabo, Plutarch, ^lian, Libanus, Amm. Mar- Guide. C 18 TRAGEDY AND COMEDY. cellinus, Joh. Tzetzes, who speak of tlie play called — The taking of Miletus, style the author of it barely, Opuz^t^os- 6 TpayiKos, Phrynichus the tragedian, without adding 6 Necore/aoy, the younger ; as all of them, or some at least, would and ought to have done, if this person had not been the famous Phryni- chus, that was Thespis's scholar. And so when he is quoted on other occasions, by Athenajus, Hephasstion, Isaac Tzetzes, &c. he is called in like manner Phrynichus the tragic poet, without the least intimation that there was another of the same name and profession. THAT THERE WAS BUT ONE APPEARS FROM THE SCHOL. ON ARISTOPH. AND SUIDAS. Besides this, the very Scholiast on Aristophanes, and Suidas, who are the sole authors produced to show there were two tragedians, do in other places plainly declare there was but one. " There were four Phrynichuses in all," says the Scholiast : — 1. Phrynichus, the son of Polyphradmon, the tragic poet. 2. Phrynichus, the son of Chorocles, an actor of tragedies. 3. Phrynichus, the son of Eunomides, the comic poet. 4. Phrynichus, the Athenian general, who was concerned with Astyochus, and engaged in a plot against the government; What can be more evident than that, according to this cata- logue, there was but one of this name a tragedian ? FREQUENT INCONSISTENCIES IN LEXICONS AND SCHOLIA. , But it is no wonder if in lexicons and scholia compiled out of several authors, there be several things inconsistent with one another. So in another place both the Scholiast and Suidas make this fourth Phrynichus, the general, to be the same with the third, the comic poet. On the contrary, ^lian makes him the same with the first ; and he adds a particular circumstance — That in his tragedy llvppi')(ai, he so pleased the theatre with the warlike songs and dances of his chorus, that they chose him as a fit person to make a general. Among the moderns some fall in with Elian's story, and some with the other : but with all deference to their judgment, I am persuaded both of them are false. PHRYNICHUS THE GENERAL A DISTINCT CHARACTER. For Phrynichus the general was stabbed at Athens, 01. xcii. 2. as Thucydides (B. viii.) relates : but a more exact account of TRAGEDY AND COMEDY. 19 the circumstances of his death is to be met with in Lysias and Lycurgus the orators. This being a matter of fact beyond all doubt and controversy, I affirm that the date of his death can neither agree with the tragic nor the comic poet's history ; being too late for the one and too early for the other. It is too late for the tragedian, because he began to make plays, as we have seen above, at Olymp. Ixvii., from which time till Olymp. xcii. 2. there are 102 years; and even from the date of his Phoenissae, that were acted at Olymp. Ixxv. 4., wdiich is the last time we hear of him, there are sixty-six years to the death of Phryni- chus the general. And then it is too early for the comedian, for we find him alive five years after, contending with his play called the Muses (quoted by Athenteus, Pollux, Suidas, &c.) against Aristophanes's Frogs, at Olymp. xciii. 3. when Callias was archon. PHRYNICHUS THE ANCIENT TRAGEDIAN ALLUDED TO BY ARISTOPHANES IN THE VESP^. Again, I will show there was but one Phrynichus a tragedian : Aristophanes in his Vespas says, that the old men at Athens used to sing the old songs of Phrynichus : KOI fJLiVVpitpVTSS fisXr] ^Ap'^aoofjis\7]at8(ovo(ppvvt')(^paTa. It is a conceited word of the poet's making; and aiBcovo, which is one member in the composition of it, relates to the Phoenissae (i. e. the Sidonians), a play of Phrynichus's, as the Scholiast well observes. Here we see the author of Phoenissaa (whom they suppose to be the latter Phrynichus) is meant by Aristophanes ; but if I prove too, that Aristophanes in this very place meant the Phrynichus, Thespis's scholar, it will be evident that these two Phrynichuses (whom they falsely ima- gine) are really one and the same. Now that Aristophanes meant the scholar of Thespis will appear from the very words fjLs\7] ap^ala, ancient songs and tunes. Ancient, because that Phrynichus was the second, or as some in Plato thought, the first author of tragedy. And "songs and tunes," because he was celebrated and famous by that very character. THE ANCIENT PHRYNICHUS FAMOUS FOR HIS SONGS. " Phrynichus (says the Scholiast on this place) had a mighty name for making of songs." But in another place he says the c 2 20 TKAGEDY AND COMEDY. same thing of Phrynichus the son of Polyphradmon ; who, ac- cording to Suidas, was Thespis's scholar. " He was admired (says he) for the making of songs ; they cry him up for the composing of tunes ; and he was before ^schylus." And can it be doubted then any longer, but that the same person is meant ? It is a problem of Aristotle's, Aca tl ol irspl ^pvvL')(pv fjLoXXov rjaav /uLsXo'TroLOi; "Why did Phrynichus make more songs than any tragedian does now-a-days ? " And he answers it — ^H Sta TO TToWaTrXdata slvat tots to, /jLeXtj twz^ fisTpcov iv Tols TpayaySiat^; "Was it (says he) because at that time the songs (sung by the chorus) in tragedies were many more than the verses (spoken by the actors?)" Does not Aristotle's very question imply, that there was but one Phrynichus a tragedian? FUKTHER ARGUMENT FROM ARISTOPHANES. I will add one argument more for it ; and that, if I do not much mistake, will put an end to the controversy. For I will prove, that the very passage in Aristophanes, w^here the Scholiast, and Suidas from him, tells us of this (supposed second) Phrynichus, the son of Melanthas, concerns the one and true Phrynichus, the scholar of Thespis. It has been already stated from Athen^us and Aristotle that the ancient poets, Thespis, Pratinas, Carcinus, and Phrynichus, were called op'^rjaTCKol, dancers. This being premised, I shall now set down the words of the poet (Vesp. 1476.): 6 yap ysp(ov, cos sine 8ta ttoWov ^(povov, rjKovcTs T avXov, irspi'^^aprjs Ta> TrpdyfiaTi, op^ovfJLSvos TTjs vvKTos ovhsv TTaVSTat Tap'^ac ifcsLV, 0I9 ^iairis yycovl^STO' Kat T0V9 Tpaywhovs (firjcrcv dirohsl^siv Kp6vov9 Tovs vvv, hiop')(7]a6iJLSvos oXlyov vdTspov : which are spoken by a servant concerning an old fellow his master, that was in a frolic of dancing. " All night long (says he) he dances those old dances that Thespis used in his choruses : and he says he will dance here upon the stage by and by, and show the tragedians of these times to be a parcel of fools, he will out-dance them so much." And who can doubt that considers what I have quoted from Athenjeus, but that Thespis, 6 dp')(alos^ the old tragic poet (who lived 114 years before the date of this play), o opyriGTiKos^ the common dancing -master at Athens, is here meant by Aristophanes ? TRAGEDY AND COMEDY. 21 ALLUSIONS TO THE DANCING OF PHRYNICHUS. But to go on with Aristophanes : we come afterwards to this passage : ifK'qaazi ^pvvL^os^ cocTTTzp dXsfcrcop (Ot. Ta^a /3aW7]a£LS') ^Ks\o9 ovpdviov y sKXaKTL^cov : for so I would read for Trrijcrcrsi : " Plirynichus strikes like a cock, throwing up Ms heels very loFty." Tliis is spoken by the old fellow, while he is cutting his capers : and in one of his frisks he offers to strike the servant that stood by with liis foot as it was aloft. Upon which the servant says, rap^a ^aWijasis, " you will hit me by and by with your capering and kicking." nx?;o-- aco is the proper term for a cock, when he strikes as he is fight- ing ; and UXijKrpov is liis spur, that he strikes with. The meaning of the passage is tliis — That in his dances he leaped up, and vaulted, like Phiynichus, who was celebrated for those performances, as it further appears from what follows a little after — Kat, TO ^pvvi')(SioVi ^EiKXaKTicrdT(o ro9' ottcos ^ISoPTSS dvCO ttsSlco. Ketw 8s fjbVij/jLTjv X£L7r£L9f "I^XXtjctl B siraLvov ^v^vvsTOJ 'y^vx^^ TOLS sTrLyLvofjisvoL^, Tzetz. Chil. i. 24. So this epigram is to be corrected ; for it is faulty in Tzetzes. Indeed, it is not expressed here what sort of victories they were : so that possibly there might be some of them obtained by his tragedies ; if that be true which Suidas tells us, that Simonides TRAGEDY AND COMEDY. 31 made tragedies. But I rather believe tliat he won them all by his dithyrambs with the cyclian choruses ; and I am confirmed in it by liis own epigram, not published before : "^Ef iirl irevTrjKOvra, ^c/jLcovL^rj, flpcio ravpovs Kal rpLirohas, Trpiv tovS avds/jLSvai irivaKa. TocTO-aKO 8' LfjLSposvra {pLha^dfJusvos) X^P^^ avhpwv^ EuSofou ^LKas ayXaov dp/jU stts^tjs. Anthol. Epigr. MS. A BULL THE PRIZE OF DITHYRAMB. A CALF OF THE K.L6ap(pBoL I have supplied the tliird verse with hiha^dfjusvos^ which is wanting in the MS. But it is observable that instead of ^Uas, as it is in Tzetzes, the MS. epigram has ravpovs, which I take to be the author's own word ; but being not understood, it was changed into Nt/cas*. For ravpos, a hull, was the prize of dithy- ramb, as a goat was of tragedy : which was the reason why Pindar gives to dithyramb the epithet of Por[kdrr}s : Tat Acavvaov ttoOsv s^a(pavav Si'V ^orfkdra yupiTZS AtOvpdfjL^w .... Find. Olymp. xiii. " He calls the dithyramb ^orikdrris (says the Scholiast) be- cause the bull was the prize to the winner, that animal being sacred to Bacchus." And as the dithyrambic poets contended for a bull, so the harpers, KiOapw^ol, contended for a calf. Aristophanes, Acharn. AAA. sTspov r)au7]v, rjviK sttl iioa^fp ttots As^idsos slarjXO^ aaopiavos ^olcotlov. " Some," says the Scholiast, "interpret it iirl yLtocr^o), for a calf; because he that got the victory with his harp had a calf for his premium." He seems, indeed, to give the preference to the other exposition, that makes Moo-^j^os" the name of a harper, and the modern translators follow him in it : but the former is the true meaning of the passage, as both the language and the sense sufficiently shovv'. I will crave leave to add two more things relating to this matter : first, that this triple chorus, the comic, tragic, and cyclian, may perhaps be meant in that epigram of Dioscorides, which I have produced above — Ba/c^oy OTS rpcTTov Kardryot x^P^^ Neither shall I contend the point, if any one will embrace tliis exposition : but, for my own part, I prefer the other, which makes it relate to " Trina Liberalia," the thi-ee festivals of 32 TRAGEDY AND COMEDY. Bacchus. And secondly, that these prizes, the bull and the calf, apj)omted for the dithyramb and playing on the harp (if they really were continued till Sunonides's death and Ari- stophanes's time, and if those passages of theirs related to the present custom, and not the first institution only), may induce some to believe, that the old prizes for tragedy and comedy might be continued too, though they be not taken notice of. However, be this as it will, the arguments used above are not weakened at all by it. For it is plain, from the epochs of ^schylus, &c. in the Arundel INIarble (where those prizes are not mentioned), that the epochs of Susarion and Thespis (where they are mentioned) were proposed to us by that author, as the first rise of comedy and tragedy. CORRUPT READING IN THE GREEK PROLEGOMENA TO ARISTOPHANES. In the Greek Prolegomena to Aristophanes, gathered out of some nameless authors, the words are : "Eo-rt Bs ravryv (KcofKp- hlav) sIttslv koI rpayaySiaVf oiovsl rpvywhlav rcva ovcrav, oti TpvyLa ')(^pL6fJLSV0L 5Kcofxa)Sovv : i. e. ^' Comedy may be called tra- gedy, quasi trygaedia, because the actors besmeared their faces ivith lees of wine.'''' But the very next words in that nameless old author will show that the passage is corrupted. For it imme- diately follows, Kat TTjs fMsv rpaycpSLas ro sh sXsov KLvrjcrai revs aicpoaTas, T7)s hs Kay/mayBlas rb sis ysXcora. So that the whole sentence, as the common reading has it, is thus : Comedy may be also called tragedy ; and it is the design of tragedy to excite com- passion in the auditory ; that of comedy to excite laughter. Is not this now a most admirable period, and all one as if he had said. Comedy may be called tragedy, for they are quite different things ? Without all doubt, if he had really meant, comedy may be called tragedy, in those following words he would have said, TYjs rpajMBias rrjs Kvplws Xsyo/jLsvys, it is the design of tragedy properly so called ; and not have left them, as they now are, a piece of flat nonsense. But the emendation is very easy and cer- tain ; for with the smallest alteration the whole passage must be read thus ; "Ecrrt hs ravrrjv slttslv Kal TpvytpBlav, oiovsl rpvycphlav TLva ovaav, on rpvyla '^ptofMsvot ekco/jlmBovv. And so we have it, in almost the very same words, in another writer among the same Prolegomena : T^v avrrjv Ss {KcofjbwBlav) koX TpvywStav (paalv . . . OTL . . . rpvyl Bca^lovrss ra irpoacoira virsKpivovTo. The import of both is, that for Kco/jLwBia one may use the word TpvywBla ; which is true and right ; for the words are synony- TKAGEDY AND COMEDY. 33 nious, as ajjpear from several places in Aristophanes and the old lexicographers. CASAUBON WRONG IN ASSERTING THAT rpvywhla SIGNIFIED BOTH TRAGEDY AND COMEDY. The great Isaac Casaubon, in his most excellent book De Satyrica Poesi, teaches us — That at first both comedy and tragedy were called rpvyaySla or Tpa^ywhla, as appears from Athena3us; where he says, — Both comedy and tragedy were found out in the time of vintage ; (^rpvyrjs') aetitors in that department of the drama, and puts ^schylus at the head of the triumvirate. It appears, therefore, that although we have few remains of the Greek Tragedy, yet they are remains of the best masters. There are authorities wliich say that ^schylus wrote above one hunch'ed trag-edies, and the titles of all these have been collected and published by Meursius ; seven only survive * ; the like number of Sophocles f, and a few more of Euripides J, comprise all the remains of the Greek tragedy now in our possession : but although these are highly valuable as being specimens of the best masters, it does not follow that they are the best, or amongst the best performances of their respective authors : at all events we can judge but in part from so small a proportion ; and as these authors w^ere in the habit of forming their dramas upon plots that were a continuation of the same story, it must be to the disadvantage of any one piece, that happens to come down to us disjunctively, as in the instance of the Prometheus of ^schylus, and more which mio-ht be named amono-st the remains of the two other sur\dving poets. The style of ^schylus bespeaks a fiery and inflated imagin- ation ; the time in which he wrote, and his own martial habits, doubtless gave a colour and character to his diction; perhaj^s the intemperance in w liich he indulged may sometimes give a heat to his fancy more than natural § ; and there are some passages of so figurative and metaphorical a sort, that I have been often tempted to suppose that liis campaigns against the Persians might have tinctured his language with something of the Oriental tone of expression. The tragedies of ^schylus have all the marks of an original genius ; his scene is cast with an awful and majestic grandeur, and he designs in the boldest style. No poet intro- duces his character on the scene with more dignity and stage effect : he is in the practice of holding the spectator in suspense by a preparatory silence in his chief person, which is amongst * These are the Supplices, Persse, the clusters of grapes in a vineyard, Prometheus Vinctus, Septem contra Bacchus appeared to him, and bade Thebas, Agamemnon, Choephori, Eu- him turn his attention to Tragic com- menides : such is the chronological position. This account, if true, shows order, according to Blomfield in" the that his mind was, at a very early Preface to the Persae, p. xv. period, enthusiastically struck wdth t viz. the Ajax, Electra, CEdipus the exhibitions of the infont drama. Tyrannus, Antigone, Trachinite, Phi- To this same origin must, no doubt, loctetes, CEdipus Coloneus. be traced the common account rela- X viz. 18, and one satyric drama, tive to zEschylus, that he wrote under entitled the Cyclops. the influence of wine. The inspira- § "Pausanlas(i. 14.) records a story tion of Bacchus, in such a case, can of -^schylus's boyhood, professedly on mean nothing more than the true in- the authority of the poet himself, that spiration of poetry." — Life of Mschy^ having fallen asleep while watching Ins, in Anthons ed. of Lempriere. Guide. -^E 50 SOPHOCLES AND EURIPIDES. the most refined arts of the dramatic poet. I believe there is no ancient poet that bears so close a resemblance in point of genius to any of the moderns, as ^schylus bears to Shakspeare. Sophocles, in times more pacific, has a softer versification, and a style more sweet and feeble : of habits and education more effeminate, of a fair and comely person, we hear of him dancing naked round a trophy erected for the victory of Salamis, his lyre in his hand, and his limbs anointed with oil to increase their activity. He studied music and the dance under Lampsus, and in both arts was an adept ; he danced at the performance of his own Nausicaa, and he accompanied the choruses of his Thamyris with his voice and harp. Devoted to the fair sex in the extreme, the softness of his natural character is conspicuous in his writ- ings : his pictures of women are flatteringly drawn, and his style is compared to the honey of the bee for sweetness. The sen- sibility of his mind was extreme : though he Hved near a hun- dred years, old age did not deaden his feelings, for wliilst judgment was passing on his CEdipus Coloneus, the last play he exhibited, his spirit was so agitated by the anxious suspense, that when the prize was at length decreed in his favour, the tumult of passion was too great for his exhausted frame, and the aged poet expired with joy. [Other accounts state that the excess of joy which occasioned his death arose from his obtaining a poetical prize at the Olympic games ; others that he was choked by a grape-stone.*] Euripides, on the other hand, was of mean birth, the son of a poor woman who sold herbs, at which circumstance ^schylug points, when he says, in the Frogs, " O thou from rural goddess sprung !^^ He was educated by his father to engage as an ath- letic in the Eleusinian and Thesean games: he was also a student in natural philosophy under Anaxagoras, in rhetoric under Prodicus, and a pupil of Socrates in moral philosophy. AYhen he began to study tragedy, he shut himself up in a cave, wild and horrid, and sequestered from the world, in the island of Salamis : he is charged with having a professed antipathy to women, and every feature both of nature and education, as now described, is discoverable in his writings : his sentiments breathe the air of the schools, his images are frequently a ulgar, and his female characters of an unfavourable cast : he is carping, sour, and disputatious ; and though he carried away only five prizes out of seventy-five plaj^s, he is still indignant, proud, and self- assuming : his life was full of contention and his death of horror, for he was set upon by mastiffs, and killed, f * For further particulars of the f On the Life of Euripides, see life of Sophocles, see Anthon's ed. of Anthon's Lempriere. Lempriere. FIRST WRITER OF COMEDY. 51 OF EPICHARMUS AS THE FIRST WRITER OF COMEDY. (No. 135.) ^ I have spoken of tragedy as a icritten poem before comedy of the same description, because I think that Susarion did not write comedy, though he acted it so early as the fiftieth Olym- piad ; and I also think that Thespis did write tragedy in the sixty-first Olympiad, if not sooner; in other words, although the complexion of the original drama was comic in the most extravagant degree, yet it aj^pears probable that tragedy had the start in i3oint of publication. The nature of the first comedy, compared with that of the first tragedy, seems to war- rant this opinion ; for it is easy to suppose that the raillery and satire of the village masks, which would pass off at a lawless festival, spoken ofiP-hand and without the malice of premedi- tation, would not so readily have been committed to writing by the j^oet, as the tragic drama ; which, being composed in honour of deceased heroes, or on religious and grave subjects, not only called for greater deliberation on the part of the author, but would also be made public without danger of ofifence. I have already observed that Aristotle ascribes the first written comedy to Epicharmus. Both Aristotle and Horace call him a Sicilian*, but in what particular place he was born is not agreed; some contend that he was a Syracusan, some that he was a native of Crastum, others of Megara in Sicily. The father of Epicharmus was named Chimarus, or, according to others, Tityrus, and his mother Sicida. Cicero, in his Tusculans, calls him acutam nee insulsum liominem ; Demetrius Phalera3us celebrates him for the elegant and apposite choice of his epithets, on which account the Greeks gave the name of Epicharmion to his style, making it proverbial for its beauty and purity. It is difficult to fix the precise time when he began to write comedy, especially as he lived to the great age of ninety-seven : it is certain, however, he was still writing in the reign of Hiero, in or about Olymp. Ixxiv., at which time Phormis also wrote comedy in Sicily ; and Chionides, Dinolochus, and Magnes, comic poets, flourished at Athens. Amongst the epigrams of Theocritus, published by H. Stephens in 1579, there are some lines upon Epicharmus, which appear to have been inscribed upon the pedestal of a statue of brass, which the Syracusans had set up in his honour as their fellow- cilizen : it consists of ten lines in the Doric dialect, which he * Epist. ii. 1. 58. Plautus ad exemplar Siculi properare Epicharmi. E 2 52 THE FOUNDERS OF COMEDY. used ; it settles the point of his birth, expressly saying he was a Syracusan ; and ascribes to him the invention of Comedy : — ^' ft) ^vrjp, 6 rav l^coficpSlav l^vpooV) '^7rl')(ap/jL09.— — On the whole, I think it likely that the Athenians wrote comedy as soon as the Sicilians, but that Epichaniius was the first who formed his drama on the poems of Homer : it is also clear, that his countryman and contemporary Phormis wrote comedy as soon, or nearly as soon as he did ; for although The- ocritus, in the epigram above cited, says expressly, that Epi- charmus struck out comedy, yet it must be remarked that Theocritus was a Syracusan by birth, liA^ng in the time of Ptolemy Lagus ; and in giving this testimony for his fellow- citizen, it is more than probable he spoke locally of the Sicilian comedy only, as Suidas did in after-times, when he said that Epicharmus and Phormis first struck out comedy in Sicily. I would therefore fix Epicharmus's first comedy antecedent to Olymp. Ixxv. at the lowest date, because we have it from good authority that he was teaching scholars at Syracuse four years before the Persian era ; and this date is confirmed by the age of Phormis, who certainly flourished in the time of Gelon, and was in great favour in the court of that prince, who was predecessor to Hiero, and was succeeded by him in Olymp. Ixxvii. EPICHARMUS, PHORMIS, CHIONIDES, MAGNES, AND DINO- LOCHUS, THE FOUNDERS OF COMEDY. (No. 136.) Epicharmus was a liberal benefactor to the stage. Porphyry says that Apollodorus the grammarian made a collection of his plays in ten volumes ; Suidas reckons fifty-two ; Lycon only thirty-five; but modern philologists have given the titles of forty, with the authorities by which they are ascertained. Of Phormis, the contemporary of Epicharmus, no fragments are to be found. Chionides, of Athens, wrote comedy before the Persian era, and is the oldest writer of the Athenian stao^e. Magnes was an Athenian, and began to appear as a writer of comedy, whilst Chionides was living : Aristophanes makes men- tion of him in his Play of the Knights. Dinolochus was contemporary with Magnes : he used the Doric dialect, and is said to have produced fourteen plays. Some place his birth at Syracuse, others at Agrigentum. These five poets, three of whom were Sicilians, must be called CRATINUS, EUrOLIS, AND AKISTOPHANES. 53 the Fathers of Comedy, and all that now remains of them is comprised in a few short passages. Whilst their comedies were in representation, tragedy was advancing under Pratinas and Choerilus, and _ZEschylus had already taken possession of the stage ; Sophocles and Euripides were born, the former six years before the latter; Ion, sur- named Xuthus, son of Orthomenes of Chios, began to write tragedy in the first year of Olymp. Ixxii., ^schylus being then dead. Theognis (from the coldness of his drama nicknamed Snow) was contemporary with Ion. The magistracy of Athens in Olymp, Ixxxv., when Myrri- chides was archon, published a decree, prohibiting the repre- sentation of comedies in Athens : this decree held in force only two years under Glaucides and Theopompus ; for when Euthy- menes succeeded to that annual dignity, he found it expedient to gratify the people by a revocation of the edict, and the comic muse was reinstated on the stage by the celebrated triumvirate of Eupolis, Cratinus, and Aristophanes ; Cratinus opening the theatre with his celebrated comedy of The Winter Amusements, Eupolis with the Neic Moons, and Aristophanes with the Achar- nensians. CRATINUS, EUPOLIS, AND ARISTOPHANES. (No. 137.) Cratinus, Eupolis, and Aristophanes, are generally classed together as rivals and principals in what is called the Old Comedy. Cratinus was senior in age to both his competitors. These poets were in high favour with the people on account of the boldness and personality of their satire, and for the same reason propor- tionably obnoxious to the nobles and magistrates, whom they lashed without mercy. Aristophanes was much the least bitter of the three, and yet we have some smart specimens of his severity. (Persius, Sat. i. 123.) Horace (Sat. i. 4.) instances these three poets by preeminence from amongst all the writers of the old comedy. Eupolis atque Cratinus Aristophanesque poetse, Atque alii, quorum comoedia prisca virorum est. Si quis erat dignus describi, quod malus aut fur. Quod moechus foret, aut sicarius, aut alioqui Famosus, multa cum libertate notabant. It appears by this quotation, that Horace does not consider their comedy in the same light with Aristotle, as if they repre- sented human nature in worse colours than it deserved. Quintilian expressly says, that these are the chief writers of E 3 54 CRATINUS, EUPOLIS, AND ARISTOPHANES. the old comedy : Plures ejus auctores ; Aristophanes tamen, et Eupolis, Cratinusque prerly introduced and carefully managed, into the most serious compositions. The chorus continued on the stage during the whole repre- sentation of the piece, unless when some very extraordinary* circumstance required their absence : this obliged the poet to a continuity of action, as the chorus could not have any excuse for remaining on the spot, when the affair which called them together was at an end : it preserved also the unity of time ; for if the poet, as Hedelinf observes, had comprehended in his play a week, a month, or a year, how could the spectators be made to believe, that the people, Avho were before them, could have passed so long a tune without eating, drinking, or sleep- ing ? Thus we find that the chorus preserved all the unities of action, time, and place ; that it prepared the incidents, and inculcated the moral of the piece ; relieved and amused the spectators, presided over and directed the music, made a part of the decoration, and, in short, pervaded and animated the whole; it rendered the poem more regular, more probable, more pathe- tic, more noble and magnificent ; it was indeed the great chain which held together and strengthened the several parts of the drama, which without it could only have exhibited a lifeless and uninteresting scene of irregularity, darkness, and confusion. * As in the Ajax of Sophocles, priety whilst they were present, and where the chorus leave the stage in able to prevent it : on these occa- search of that hero, and by that sions, the chorus frequently divided means give him an opportunity of itself into two parts, or semichoruses, killing himself in the very spot which and sung alternately, they had quitted, and which could f See his whole art of the stage, not have been done with any pro- p. 129. of the English translation. GREEK MASKS. 75 ON THE MASKS. It appears from the united testimonies of several ancient writers, that the actors of Greece never appeared on the stage of tragedy, or any other species of the drama, without masks : it is most probable, that before the time of ^schylus, to whom Horace* ascribes this invention, they disguised their features either, as in the days of Thespis, by daubing them with lees of wine, or by painting, false hair, and other artifices of the same kind with those which are practised in the modern theatre : masks however were soon introduced, and looked on, we may imagine, in those days, as a most ingenious device ; that, which they made use of in tragedy, was, according to the best inform- ation we can gather concerning it, a kind of casque or helmet, which covered the whole head, representing not only the face, but the beard, hair, and eyes ; and even in the women's masks, all the ornaments of the coif, or cap, being made of different materials f according to the several improvements, which it re- ceived from time to tune : the most perfect and durable were of wood, executed with the greatest care, by sculptors of the first rank and eminence, who received their directions from the poet. It seems to have been an established opinion amongst the ancients, that their heroes and demi-gods, who were gene- rally the subject of their tragedies, were of an extraordinary size, far surpassing that of common mortals : we must not be surprised therefore to find their tragic poets, in compliance with this popular prejudice, raising them on the cothurnus J, swelling * Suidas and Athenseus attribute And Pollux tells us that they were the invention of masks to the poet made of leather, lined with cloth or Choerilus. Horace i^ives the honour stuff: ivSoO^uS' ddouiot/^e^ctidei/SeaKVTiuLov to iEschylus ; but Aristotle, who we Trpoacoirov. may suppose was as well acquainted | The cothurnus, or buskin, was a with this matter as any of them, fairly kind of large and high shoe, the sole acknowledges himself entirely igno- of which being made of very thick rant of it. " Tis 5e TrpocrwTra," says he, wood, raised the actors to an extra- " dTreSoj/ce, rjyvovrai.'" ordinary size : Juvenal tell us, that it f The first masks were made of the made them appear extremely tall, leaves of a plant, to which the Greeks and compares an actress without her on this account gave the name of cothurnus to a pigmy : Trpo(Tosite assertions of Themi- stius and Suidas, and appeared even successfully to explain away the passages in Herodotus and Plato which allude to tragedies of remote antiquity. The father of History says, that the'Sicyo- nians honoured the memory of Adrastus by commemorating his misfortunes in tragic choruses ; and a speaker in one of the Platonic dialogues alludes to Epigenes as a tragedian long ante- rior to Thespis. But Bentley contended that Herodotus had applied the term tragedy to the Sicyonian choruses by a mere prolepsis of speech (a gentler term for anachronism) ; and that Plato had conjured up the phantom predecessors of Thespis only in the spmt of paradox. That there was no tragedy in Greece earlier than the Athenian, Avhich united a stage actor and a chorus, is noAV admitted on all hands ; and in the main points of his controversy respecting Phalaris, there is no question that the prince of critics was victorious. In fact, the dispute about the age of tragedy, which has been since revived, regards a name rather than a thing : but that the Greeks gave that name to a simple choral poem of older origin than the Attic drama, has been since insisted on by men of abler research than Boyle, and from a document Avhich Bentley himself could not have foreseen. By the Orchomenian inscriptions, so ably commented on by Professor Bock of Berlin, it is made clearly apparent that the Dorians had an older and simpler tragedy, in which nO'{viTOKpt- T7]s, or) player distinct from the chorus performed, and that they had also a newer drama, evidently borrowed from Athens, which is mentioned in those inscriptions, conjointly w^th an actor. Thus Doric and ^olic tragedy was notliing more than the song of a dancing chorus. It was merely a lyrical poem ; yet still it was expressive of passion, and probably imitative of commemo- rated actions. Hence the Dorians might have called it an acted poem, and thus the Doric etymology of the word drama is reconcileable with the fact, that an Athenian, by adding the stage to the chorus ground, first laid the foundation of what we call acting. The car of Thespis was the first stage that separated the soli- tary player from the chorus. Thespis of Icaria, a parish of Athens, was the contemporary of Solon and Pisistratus, and the favourite of the latter. Horace's mention of his ambulant car, and of the faces of his troop being smeared with wine-lees, has led to a contemptuous modern idea of him, that he was a mere strolling mountebank. It is extremely im2:)robable, however, that he phed his histrionic art, rude as it might be, under humi- Hating circumstances. Whatever his plavs were, he was the G 2 84 GENERAL OBSERVATION.^ leader of a great religious festivity ; and the equipment of festive choruses was at a very ancient period, and certainly not much later than Thespis's time, an office, in Athens, appointed by the magistracy, and honourable, but expensive to the ambitious un- dertaker. The use of chariots by those who conducted festivals, was as old among the Greeks as the Homeric manners, and was a mark of dignity, as well as a means of superintendence. The meanness of Thespis's prize, though it was only a goat and a basket of figs, argues only that his vocation was more honorary than lucrative. In vague terms we are told, that his car was itinerant ; but, as the high altar of Bacchus was at Athens, Thespis's journeys must have been made principally thither from Icaria ; and they are rather to be compared to an old Catholic jjilgrimage, than to the strollings of a showman in quest of bread, and dependent on chance and charity. How merry people coidd be in Catholic pilgrimages has been shown by our own Chaucer ; and Thespis's merriment, at the head of his troop, was in no way at variance with Pagan notions of religion. Still it is wonderful, that tragedy, the noblest branch of poetry, should have eventually sprung from a source in which there was evidently intermingled much of the ludicrous. The Dithyrambus *, a name applied to the earliest festive poetry in honour of Bacchus, and, by extension of meaning, to the whole festival, was confessedly the origin of tragic poetry. But there were three kinds of choruses, that sang, and ac- companied with dancing, the poem called Dithyrambus. There was a chorus of men, and another of boys ; for contending in which, each of the ten tribes of Attica maintained and educated fifty performers. An ox, an animal of no mean value in Attica, was the prize of the manly chorus ; and it was to this that Pin- dar must have alluded, when he mentions the Dithyrambus by an epithet significant of its reward, f The youthful chorus had the prize of a tripod. The third, or Satyr choir, had the hum- ble prize already mentioned; and its name indicates, that its performers personated the fauns, or satyrs, in immediate attend- ance on Bacchus. Yet this was the chorus which Thespis led, and on which he founded dramatic art, by the introduction of an episodical speaker. It is nothing wonderful that the main testi- mony of tradition (for he left no works, and, in all probability, * All the alleged derivations of the birth of the God, or to his having term Dithyrambus are strained and twice entered the gates of life, unsatisfactory, not even excepting . ^^j Aia»,.i^crco -rrSe^u i^4cpayau that one which may nevertheless, for ^^^ ^o-nxdraxcipnes lack of a better, be reckoned the most AiOvpaLLSu. ' probable, namely, from the words Ai? ' Pii}j)a.r Olymp. 13. ^vpas djuefgwi/, in allusion to the double » 1 ON THE GREEK DRAMA. 85 never wrote any) represents lilm as a gay performer : but the striking phenomenon is, to find the song of the goat (such is the Greek meaning of the word tragedy) become a touching and sublime composition in the hands of his near successors. Of those successors, the first was Phrynicus, who, besides depart- ing from Bacchic mythology, inventing masks, introducing female characters, and making a changing relief in the metre of tragedy, wrought the higher improvement of raising it to pathos, and of rendering it tragic in our sense of the word. He was, according to Aristophanes, a sweet and aftecting poet ; and when the Athenians fined him, it was only for awakening their sensibility too strongly on a subject of public calamity ; namely, the capture of Miletus. Choerilus is the first tragic poet whose works are quoted as having been written, and for whom the Athenians constructed a theatre. It was of wood, and fell in pieces during the acting of one of the works of his contemporaries. Pratinas fovmded the Satyric drama.* That third branch of the Greek drama took its name, not from satirical contents, but from the satyrs who performed in it, and, though comic, was distinguished from proper comedy by its subjects being mythological. Its era, as a separate drama, occurs exactly at the time at which we should expect it, namely, when tragedy began to assume a serious in- terest, with which the intermixture of a choir of satyrs would have been incono^ruous. There can be little doubt, that those ~ .... gentry and Silenus had figured from time immemorial in the Bacchic orgies, which, with their bacchanals, fauns, priests, and forms of infuriated, as well as joyous superstition, must have presented a character like that of the tiger which bore the god, capriciously blending the terrible and the frolicsome. But, when those orgies became allied with maturer art, and when the graver elements of the drama were refined and separated from the ludicrous, the satyr attendants of the god would be found no way conducive to the dignity of the tragic muse, and probably increased her inclination to historical subjects, unconnected with Baccliic mythology. Yet still the satyrs w^ere old favour- ites of the peoj^le, and, though the tragic poets could dispense with their services, they were bound to remember them by re- spect for Bacchus and the popular opinion. They therefore allotted them a separate drama, where they might sport by themselves : nor did the greatest poets disdain to write those merry mythological afterpieces, one of which was enacted after each of their Trilogies, or suites of tragedies, and formed a total that was called a Tetraloo:v. * UpwTos ^ypaxpe 'Xarvpovs, says Suiclas, voce Pratinas. ; G 3 86 GENERAL OBSERVATIONS All that was done by the other patriarchs of the Greek stage was, however, little in comparison with what was effected by ^schylus. The fact of his having first brought a second actor on the stage, is contradicted on no authority that can be put in competition with the general assertion of antiquity.* It is true that Phrynicus was certainly his predecessor, and so also in all probability was Choerilus. Yet, even the scholar of Thespis lived, and got the prize in poetry, after ^schylus had com- menced his career : and it is difficult to suppose, that he did not adopt the improvement invented by his junior, and depart from the old monology of the stage. But the great improvement which iEschylus brought, was to stamp the drama with the strength and solemnity of his own mind. Ancient criticism alludes even contemptuously to the excessive mixture of dancing in Phrynicus's plays ; but to harmonize with the grandeur of ^schylus's conceptions, the orchestra movements must have been grave and graceful. In fine, when we look to his influ- ence on the stage, both as to its spirit and exterior magnificence, we cannot but call him its proper founder : nor does it detract from our idea of his originality to conceive, that his genius was happy in the period at which it biu'st on the world. His con- temporary Pindar brought lyric poetry to perfection. Like him, ^schylus was a poet of concentrated fire, and bold in his grasp of imagery. But to have been merely a lyric poet like Pindar, would have been at best to have divided the palm with him. There was a new path opened to inventive excellence, namely, in the junction of old Dithyrpanbic tragedy and stage-acting, and ^schylus boldly made it his own. It was his fortune to write under the star of his country's prosperity, — and when the sister arts, though not risen to all their perfection, were yet mature enough to apparel and adorn the Muse of Poetry. There is not a doubt that perspective painting was understood at that period ; for Vitruvius expressly mentions Agatharchus as the contemporary of -^schylus, as the contriver of scenery, and as a writer on the subject of perspective. ^schylus, Sophocles, and Euripides, completed Attic tra- gedy, which was thus, in the fair meaning of terms, an invention of the Athenians ; and to deny them this honour, on the score of there being an older Doric tragedy, would be to exact from their drama a degree of originality, to w^hich no national litera- ture on earth can make any pretensions. It is true that the Athenians could not have been uninfluenced by the past and contemporaneous poetry of Greece ; and Sophocles and Euri- * The only contradiction of this lonius of Tyana ; but this opinion is general assertion that I know of, is comparatively modern, found in Philostratus's Life of Apol- ON THE GREEK DRAMA. 87 pides may be sometimes found looking up to the soarings of the Theban eagle. The Dithyrambus itself, the fountain of Attic tragedy, was of foreign invention, and as old as Archilochus. The very verse of their tragedy was not their own ; for the dancing Trochaic, the speech-like and natvu'al Iambic metre, and the Anapaestic which formed the transitions between them, were forms of verse invented by the lonians. Even their chorus moved to foreign music : its strophe to the spirited Doric, its antistrophe to the pompous Phrygian, and its epode to the im- passioned Lydian harmony. Nor did their stage heroes disdain to wear the Cretan buskin and the Persian girdle. Yet, if all these circumstances can be called debts of the Attic tragic muse, it must be owned that she repaid them to the world with usury. The temple of Bacchus was the first established theatre of the Attic drama, and a thymele, or altar, in its orchestra, con- tinued to be even occasionally used for sacrifice ; but the Bacchic songs and dances which gave birth to dramatic art, were long anterior to any theatre, and must have been coeval with the worship of the god in Greece. The general name for Bacchic poetry was Dithyrambus ; but the word, in its stricter sense, meant the hymn of the Cyclic chorus, who danced round the altar of sacrifice, whilst the Phallic strains were sung by columns of worshippers in procession to and from the temple. Both were accompanied by flutes, and both were of a revelling spirit ; but the Dithyrambus was mythological, whilst the Phal- lic songs were full of ribaldry and personal ridicule. The former poetry was chiefly appropriated to that high festival of the Nyssean Bacchus, which was celebrated in the month An- thesterion, which began in the middle of our February, when the Athenian queen, or archon's wife, attended by fourteen illustrious dames, presided at the mysteries, and personated the bride of the god. The latter songs took their names from the Phallus, that was paraded at the city festival, held a month later, in honour of the younger Bacchus. Virgins accompanied that ceremony, carrying fruits in golden baskets ; but neither the statue nor the songs much accorded with our notions of virgin delicacy. From these Phallic canticles, Aristotle deduces Attic comedy. On the other hand, he ascribes the origin of tragedy to the Dithyrambus, a great branch of Greek lyric poetry, apparently coinciding in several traits with that of the odes of Pindar. It had the same division into choral parts, and was partly adapted to the same description of harmonies. Comedy came later than tragedy on the Attic stage ; and it is an interesting fact in the history of Sicily, that that island carries ofl" the palm from Athens herself, as to the prior produc- G 4 88 GENERAL OBSERVATIONS tion of the gayer drama : for the Sicilian Epicharmus, a con- temporary of ^schylus, was the first writer of regular comedy. With E23icharmus's reputation, though his writings are lost, all to a few fragments, it would be in vain to compare that of Susa- rion, or of the other old Attic impro\dsatori. But still, in the works of Aristophanes, Athens had an original comedy, as native and characteristic as national comedy could be. Its spirit has an Athenian hardiness, that could not have been caught from abroad. No doubt, it is probable, when the Athenians lost their liberty, and when their new comic writers were obliged to be unpersonal and unpolitical, that they would look back to, and refine on, the Sicilian school. At that later epoch, the stage pleasantry of Athens became such as we may conceive to have suited the taste of the court of Syracuse, and of the aristo- cracy of Rome. But the elder Attic comedy cannot be sus- pected of having studied foreign exemplars. If Epichannus was imitated by Plautus, he could have been no model for the bold and allegorical Aristophanes, whose comedy stands unique in the drama. It would have shook to pieces any other frame of society than that of democratical Athens, and could have ful- minated only in the widest atmosphere of Freedom. Attic tragedy, as we have seen, was lyrical in its origin, and it continued to retain its chorus or lyrical part ; though Euri- pides, the third great master of tragic art, seems to have found the chorus a burdensome appendage. Euripides had evidently more modern-like conceptions of tragic interest than his prede- cessors. He deduces pitiable and terrible situations, not so > much, as ^schylus and Sophocles did, from destiny warring on human will, as from the direct agency of human passions. Un- able, however, to get rid of the chorus, he left a drama less per- fect, with relation to its kind, than that of Sophocles, who blended and balanced the choral and stage parts of his pieces into perfect harmony. It must fairly be acknowledged, that if we dip into Greek tragedy, expecting to find that varied and flexible expression of nature which belongs to the best genius of our own stage, we shall be disappointed. The Greeks employed more resources of art to affect the imagination in the drama than we do : they employed not only the poetry of thought and imagery, but the . expressiveness of vocal and instrumental melody, — of rhyth- mically measured motion and gesticulation ; and in their masks we may fairly say that they introduced the poetry of sculpture. Where dramatic lano-uao-e was thus to be harmonised with so many impressions on the senses, some sacrifice of its freedom and fulness in the developement of human nature was to be ex- pected ; and, accordingly, it is not so minutely illustrative of ON THE GREEK DRAMA. 89 passion and character as our own stage. Greek tragedy stu- died to produce ideal and general impressions of grace and grandeur. I am far from thinking that Augustus Schlegel is right in denying it to have been any thing analogous to the opera ; for, if we exchange harmony for melody, the two enter- tainments coincide at least in musical luxury. But I admire the justice of his remark, that we are not to confound the ideal- ism of the Greek stage w^ith vagueness in the conception of character, for its personages hav'e a remarkably simple intelligi- bility. But the individuality of life was so far from imitated, that the actor's features were not shown. To have seen a familiar face representing a god or a hero, w^ould have broken the spectator's illusion that he w^as contemplating the ideal picture of mythology ; and the masks were accordingly designated by general classes, according to the youth, or age, or sex, or rank of life which they represented. The form of god-like and heroic characters was also elevated by the buskin, and artificially en- larged according to the height, a process which we can conceive to have been gracefully effected only by a people so exquisitely skilled as the Greeks were in sculpture and human proportion. Thus ideal in its conceptions, colossal in its scale of exhibition, and religious in its spirit, Athenian tragedy was, comparatively with ours, more a feast to the imagination than a mirror held up to nature. The choral parts are apt to tire us by interrupting the di-amatic with advices, consolations, and reflections. But the fancy of the Greek mind listened to them, entranced by native melodies, by symmetrical movements, and by imposing forms. Though the dramatic plot was simpler than ours, it had still terrific situations, and electrifying bursts of passion; and thousch -the lis^hts and shades of human character were not minutely marked, yet its main and simple shape w^as distinctly traced, flow^ing into outlines of strength and majesty. I long- to illustrate these truths by descriptive references to particular tragedies ; yet it will be necessary to crave patience for a few farther explanatory details. The Greek theatre w^as not, as with us, a daily entertain- ment, but was opened only for some days during the Dionysiac citv and countrv festivals. Durino- the orrand Anthesterian fes- tival, it appears that neither tragedy nor comedy was performed, though the Dithyrambus, as has been already mentioned, be- longed to that solemnity. The theatre opened in the morning ; the spectators brought their cushions, and even refreshments, along with them ; and plays were acted all day long, each tri- logy, or suite of three tragedies, being followed by a satyric drama or farce, till the five judges awarded the prize to the successful candidate. Every competitor, before bringing forward 90 SITE AND CONSTRUCTION OF THE his pieces, had first of all to submit them to the archon ; if he and his assessors judged them worthy of entering the lists, a chorus was awarded to them at the public expense, and the people pitched upon the rich citizen wdio was to defray the ex- pense of the choral performers. Nor did the trouble of the author end with composing his play ; he had to instruct the stage and orchestra players in their rehearsals, and frequently himself took a part in the representation. It was held deroga- tory to no man's dignity to appear on the stage of Athens ; and she counted ainong her play-writers, not merely literary men, but public functionaries and commanders of armies. From this ambition and contest arose the immense literary Avealth of the Attic stage. It ultimately counted 250 tragedies of the first class, 500 of the second, and an equal number of comedies. Of all that wealth what a wreck now only remains ! It is true we have some of the works of those writers who are acknow- ledged to have been the master-dramatists ; but the Greek stage teaches us no moral more impressively than the perishableness of human glory, from the records of its own devastation. ON THE SITE AND CONSTRUCTION OF THE DIONYSIAC THEATRE AT ATHENS. It is now generally admitted, that the grand or Dionysiac theatre of Athens stood on the south-eastern angle of the hill of the Acropolis ; and that Stuart was mistaken when he thought he had discovered its ruins in those which are now judged to have belonged to the Odeion of Herodes. That the former place was the site of the Dionysiac theatre, is strongly attested by the choragic monuments still existing in that quarter ; and a statue of Bacchus, which once adorned a small temple in the vicinity of the theatre, is now placed in the British Museum. The hollow in the slope of the hill still indicates a place where the seats of the spectators must have been excavated. It was the custom of the Greeks to build their theatres on the side of a hill, not, as a refined speculator has imagined, for the purpose of commanding a view of fine rural scenery, since the height of the stage wall must have shut out the prospect beyond it from one half of the spectators, but for saving the subconstruction of seats, as the ground thus facilitated their being raised in ascend- ing semicircles. Though the seats, liowever, rose on a hollow slope, it is impossible to imagine the orchestra, the dromos, and the stage, with its flanking walls, to have been situated any where but on even ground at the bottom. If we may believe Plato, the Dionysiac theatre could contain 30,000 spectators. DIONYSIAC THEATRE AT ATHENS. 91 SO that its diameter could not have been much less than 450 feet. It is unnecessary to say, that, with such dimensions, it was uncovered above; nor had the Greeks recourse, like the Romans, to temporary awnings. When showers came on, they had a double portico behind the scenes, to which they could retire. That Eumenic portico, as it was called, had an open walk in the midst of it, embellished with trees or shrubbery, and was the rehearsal-ground of the chorus. The daylight and open air, instead of our covered and candle-light system of acting, were indispensable for exhibitions intended to animate a whole people. As only the scantiest vestiges of that mighty theatre remain, the moderns have been obliged to compile their conceptions of it chiefly from Yitruvius and Julius Pollux, and from the traces of other old theatres which are supposed to have been built on the same model. Among the works on this subject, I am not aware that Mr. Genelli's has been surpassed by any other in elaborate research or in knowledge of architecture. I quote his name, however, wisliing only to refer generally to his authority, and not intending to descend minutely into his architectural dis- quisitions. In sketching my conception of the Greek theatre, I shall be2:in with its hio:hest sfround, or that which was farthest from the stage. The entire outline of the building, as it lay on the hollow of a hill, and on a portion of the plain ground below, must have been that of a semicircle with its arch upwards, joined to a pretty broad parallelogram at its basis. Between the apex of the semicircle and the rocks of the Acropolis above it, it is scarcely conceivable but that some communication was opened : yet it must have been very narrow, in order to prevent the escape of sound from below. The main entrances to the theatre (d and E, p. 92.) were at the opposite ends of the parallelogram below the spectators' semicircle, or at the right and left extremi- ties of the dromos (gdcoceg), or course, which ran in front of the stage and its flanking walls. The spectators' or upper part of the theatre was enclosed by a massive semicircular wall, and a portico (lll) within it, which served as a station for the servants attending their masters to the play, and also as another lounging-place for the spectators, independent of the garden portico behind the stage buildings, which has been already men- tioned. Inside of that wall and portico the benches descended (for we suppose ourselves looking down on the stage) in con- centric semicircles, which diminished as they approached and embraced the protruding crescent of the orchestra (gdcbceg). The curvature of the seat-rows thus inclined the faces of all the spectators towards the centre o:' the building, so that the termi- 92 SITE AND CONSTRUCTION OF THE nating seats on the right and left were duly opposite to each other, like those of our boxes nearest the stage. The entire amphitheatre of seats was divided into belts or stripes by pas- sages (xx) sweeping round them in profile, and again into wedge-like masses by flights of stei)s (rrr) that radiated up- wards from the lowest to the highest benches. Twelve feet lower than the lowest benches, yet still j^rojecting into their convexity, came the crescent of the flat orchestra, which was never occupied by any spectators. In the middle of the basis line of that orchestral crescent was the thymele (o), a slight square elevation with steps, and a platform, which was the rallying point of the chorus. Around this thymele the dances of the chorus described a small circle, the one half of which was within the orchestral crescent towards the spectators, the other behind the thymele, and stretching nearly to the front stage. A part of the orchestra ground therefore entered into the dromos. After enclosing the spectators and the interior orchestral crescent in one vast semicircle, the walls of the theatre ceased to describe a curve, and ran on straight to join the right and left extremities of the paraskenia (fgtt), or flanking buildings of the stage ; of course they thus formed the two ends of the dromos, and the continuity of their masonry was inter- DIONYSIAC THEATRE AT ATHENS. 93 rupted only by the two grand and opposite entrances to the theatre. Those entrances, it is clear from Vitruvius, were covered above. The stage-ground, with its flanks, or para- skenia, formed a line as broad as the amphitheatre of spec- tators ; but the stage itself (^Krjvr], h F m m r h) was a trifle narrower than the orchestra, to which it was duly opposite. The level of the stage was the same as that of the lowest benches, consequently as many feet higher than the orchestra ; but the whole wall of the stage-ground rose to the same height as the wall on the outside of the highest benches. To return to the stage — it was connected with the orchestra by stairs (ono)\ for though the choral and stage performers had a gene- rally distinct locality, it is evident that there was a connexion in acting between the orchestra and the stage. The stage itself was twofold. One stage, called the Logeion (mFFm), projected beyond the paraskenia, and, being meant merely for declamation, was constructed of wood, the better to reverberate the voice. Behind it, there was a chasm for holding the roll of the curtain ; for that disguise, though it was seldom used, was drawn up- wards by the Greeks, and not downwards, as by us. Imme- diately behind the logeion, lay the proskenion (fhhf) or proper stage, which, having often heavy plastic scenery to sup- port, was made of stone. From the building beliind, there were three entrances to the stage, and the rank of the characters was marked by the door from which they entered, the central (a), and most superb one, being allotted to royalty: the two side entrances (A and g) to inferior persons. A hall in the first floor of the stage-house (nn) contained the actors, whilst they stood ready to enter on their parts, and their dressing-rooms (oo) lay at its extremities. The back of the stage, as has been just mentioned, was not a mere wall, but a house of considerable height ; and in like manner its flanks were buildings of several stories, in the apartments of which, nearest to the stage (pp), and communicating with it by doors {vv\ were kept the machines for moving its scenery. They also contained passages (tt) into the theatre from without, communicating on the one hand with the stage, on the other, through two halls (r r) with the irdpoSoc (cdgf), or wings of the orchestra, and with the portico which ran round. But, as the building behind was insuflficient of itself to indicate the locality of the piece, there was a line of decorations in front of it, which properly constituted the scene. Those decorations were either plastic imitations of objects, chiefly in wood, or paintings on canvass and boards. The under decorations were plastic, the upper were flat pictures. The scenery, both on the sides and in the middle, was shifted by machines, which are minutely discussed by Genelli, but which 94 SITE, ETC., OF THE DIONYSIAC THEATRE. it would be foreign to my purpose to describe. In general, the Greek plays themselves show that there could not have been many changes of scene, and that the curtain was seldom neces- sary. But from the known fact, that the Greeks understood perspective, and from their anxiety to impress the senses, we may believe that the scenic effect of their stage was highly im- posing. If Genelli be right, they spared not even the intro- duction of natural trees to adorn the landscape of Oedipus Coloneus. Almost every device which is known to the modern stage was practised by the Greeks ; and the dimensions, at least, of their theatres were favourable to illusion. Their theologeion, or place of the conference of the gods, must have been an occa- sional scaffold, issuing from near the top of the stage-building, and surrounded with a picture of clouds. Infernal spirits and phantoms ascended from the Charonic steps at the extremity of the orchestra farthest from the stage, and beneath the loAvest seats of the spectators. By our sceptical imaginations, the im- pressions made on a superstitious people by such representations can be but faintly estimated ; yet even a modern fancy must be torpid, that, in reading iEschylus, is not electrified by the ghost of Clytaemnestra rushing in to awaken the Eumenides ; and the grandeur of terror in spectral agency was certainly never made more perfect, than where that poet invokes " the slumbering Furies and the sleepless dead." The audience themselves must have formed no unimposing appearance. Of the place for myriads, the foremost belonged to the archons, the senate, the generals, and the high-priesthood of the state. Strangers were admitted during one of the festivals, and had their allotted seats. The knights had their station apart ; and all the free citizens arranged themselves according to their tribes. The place for the youth was called the Ephe- bikon ; and the women had distinct seats, though opinion, more than lavA^, seems to have kept the more respectable class of them from the theatre. PKOGRESSIVE STAGES OF THE GRECIAN DRAMA. 95 BRIEF OUTLINE OF THE PROGRESSIVE STAGES OF THE GRECIAN DRAMA. FROM ANTHON'S HORACE, p. 593. For the origin of the Grecian drama we must go back to the annual festivals, which, from very remote times, the village communities were wont to celebrate at the conclusion of harvest and vintage.* On these occasions the peasantry enjoyed a periodic relaxation from their laboiu-s, and offered grateful sacrifice to their gods. Among these gods, Bacchus was a chief object of veneration, as the inventor of wine and the joint patron, with Ceres, of agriculture. At these meetings, that fondness for poetry and poetic recitation, ever peculiarly strong among the Greeks, combined with their keen relish for joke and raillery, naturally introduced two kinds of extemporaneous effusions : the one consisted of hymns addressed immediately to Bacchus ; the other was the offspring of wit and wine, ludicrous and satirical, interspersed with mutual jest and sarcasm. Tlie loftier and more poetical song was afterwards called the dithy- ramb {hiOvpafjLpos), a term probably derived from some ancient title of Bacchus f ; as the Piean took its name from liaiav, an early appellation of Apollo. From these rude comjDositions sprang the splendid drama of the Greeks : the dithyramb gave birth to tragedy, the other to comedy. In ascribing the origin of the drama to these simple choruses, all scholars seem to agree. With respect to its subsequent progress and development, down to the time of ^schylus, considerable difference of opinion ex- * Hor. Epist. ii. 1. 139. Agricolae prisci, fortes, parvoqiie beat!, Condita post frumenta, levantes tempore festo Corpus et ipsum animum spe finis dura ferentem. Cum sociis operum pueris, et conjuge fida, Tellurem poreo, Silvanum lacte piabant, Floribus et viuo Genium, memorem brevis sevi. Fescennina per hunc invecta licentia morem Versibus alternis opprobria rustica fudit. f " The words XafxSos, epia,u€os, and most exactly coincides with the Greek Zi9vpa/ji.€os, seem to be related to one Bacchus, as the Greeks did the term another. Perhaps they are corrup- epia/j.€os to the latter deity. The tions of Sanscrit terms ; for the wor- common derivation of Sidvpafigos from ship of Bacchus was unquestionably diOvpos is erroneous, as the first syl- of Indian origin. It is very remark- Lable of the latter Avord is uniformly able, that the Hindoos apply the short." — Mus. Crit. ii. 70. term Triampo to Baghesa, who al- 9(3 PROGRESSIVE STAGES OF ists. The following account seems to come nearest the truth, as being consistent and probable. In the first rise of the Bacchic festivals, the peasants them- selves used promiscuously to pour forth their own unpolished and extemporaneous strains. Afterwards, the more skilful per- formers were selected and formed into a chorus, which, with the accompaniment of the pipe, sang verses precomposed by the dithyrambic poet. These poets at the outset were, like the chorus, simple peasants, distinguished above their felloAV- labourers by their natural and uncultivated talent for versifying ; wdio, against these festive occasions, used to provide the chorus with a hymn. They in time became a numerous and peculiar body. Emulation was excited, contests between the choruses of neighbouring districts speedily arose, and an ox was assigned as the prize of superior skill. The dithyrambic chorus was also called Cyclian (/cu/cXtos*), from their dancing in a ring round the altar of Bacchus, whilst they sang the hymn. This exhibition never suffered any material change, but always formed an im- j)ortant part of the Dionysian festival, and was performed by a chorus of fifty men. In later ages, when a regular theatre was erected, a portion of it, called the op^x^rjarpa, or dancing-space, was set apart for the performance of the song and dance, round the SvfisXrj, or altar. The next advance in the development of the drama was the invention of the Satyric chorus. At what period and by whom this chorus was introduced are points of utter uncertainty. Wine and merriment probably first suggested the idea of imi- tating, in frolic, the supposed appearance of the satyrs, by fixing horns on the head, and covering the body with a goat's skin. The manners of these sportive beings would of course be adopted along with the guise, while jest and sarcasm were bandied about. Be this as it may, a chorus of satyrs was by some means formed, and thenceforth became an established accomj^animent of the Bacchic festival. It is now that we first discover something of a dramatic nature. The singers of the dithyramb were mere choristers ; they assumed no character, and exhibited no imita- tion. The performers in the new chorus had a part to sustain : they were to appear as satyrs, and represent the character of those gamesome deities. Hence the duties of this chorus were two-fold. As personating the attendants of Bacchus, and in conformity with the custom at his festivals, they sang the praises of the god ; and next they poured forth their ludicrous effusions, which, to a certain degree, were of a dramatic nature, but ut- tered without system or order, just as the ideas suggested them- selves to each performer. These avToa'yzZLdcryuaTa were accom- panied with dancing, gesticulation, and grimace ; and the whole THE GRECIAN DRAMA. 97 bore a closer resemblance to a wild kind of ballet, than to any other modern performance. This rude species of drama was afterwards called rpaywhla (i. e. rpdyov mSt]), either from the goat-skin dress of the performers, or, which is more probable, from the goat which was assigned as a prize to the cleverest wit and nimblest dancer in the chorus. Thespis, a native of Icaria, an Athenian village, was the au- thor of the thiirl stage in the progress of the drama, by adding an actor distinct from the chorus. When the performers, after singing the Bacchic hymn, were beginning to flag in the extem- poral bursts of satyric jest and gambol which succeeded, Thespis himself used to come forward, and from an elevated stand ex- hibit, in gesticulated narration, some mythological story. When this was ended, the chorus again commenced their performance. These dramatic recitations encroached on the extemporal exhi- bitions of the chorus, and finally occupied their place. Besides the addition of an actor, Thespis first gave the character of a distinct profession to this species of entertainment. He organ- ised a regular chorus, which he assiduously trained in all the niceties of the art, but especially in dancing. With this band of performers he is said to have strolled about from village to village, directing his route by the succession of the several local festivals, and exhibiting his novel invention on the waggon, which conveyed the members and apparatus of his corps drama- tique. Thespis is generally considered to have been the inventor of the drama. Of tragedy, however, properly so called, he does not appear to have had any idea. The dramatic recitations which he introduced were probably confined to Bacchus and his adven- tures ; and the whole performance was little elevated above the levity of the Satyric extemporalia, which these monologues had , superseded. Up to this period, the performance called rpaywhla had more the semblance of comedy than of its own subsequent and perfect form. The honour of introducing tragedy, in its later accepta- tion, was reserved for Phrynichus, a scholar of Thespis, who began to exhibit b. c. 511, the year before the expulsion of the Pisistratid^. Phrynichus dropped the light and ludicrous cast of the original drama, and, dismissing Bacchus and the Satyrs, formed his plays from the more grave and elevated events re- corded in the mythology and history of Ms country. The change thus produced in the tone of the drama constitutes its fourth form. Much, however, yet remained to be done. The choral odes, with the accompanying dances, still composed the principal part of the performance ; and the loose, disjointed monologues of the single actor were far removed from that unity of plot and Guide. H 98 PROGRESSIVE STAGES OF THE GRECIAN DRAMA. connexion of dialogue wliich subsequent improvements pro- duced. The Jifth form of tragedy owed its origin to ^schylus. He added a second actor to the locutor of Thespis and Plirynichus, and thus introduced the dialogue. He abridged the immoderate length of the choral odes, making them subservient to the main interest of the plot, and expanded the short episodes into scenes of competent extent. To these improvements in the economy of the drama, he added the decorations of art in its exhibition. A regular stage, with appropriate scenery, was erected ; the per- formers were furnished with becoming dresses, and raised to the stature of the heroes represented, by the thick-soled cothurnus ; whilst the face was brought to the heroic cast by a mask of pro- portionate size, and strongly marked character, which was also so contrived as to give power and distinctness to the voice. He paid great attention to the choral dances, and invented several figure-dances himself. Among his other improvements is men- tioned the introduction of a practice which subsequently became established as a fixed and essential rule — the removal of all deeds of bloodshed and murder from public view. * In short, so many and so important were the alterations and additions of ^schylus, that he was considered by the Athenians as the Father of Tragedy. To ^schylus succeeded Sophocles, who put the finishing hand to the improvement of the drama. He shortened the choral songs in proportion to the dialogue, im- proved the rhythm, introduced a third actor, a more laboured complication of the plot, a greater multiplicity of incidents, and a more complete unfolding of them ; a more steady method of dwelling on all the points of an action, and of bringing out the more decisive ones with greater stage-effect. To conclude with the words of Corson (Prcelect. p. 8.), " Sophocles nuUam scenam, nullam personam inducit, qua3 non ad dramatis oeconomiam per- tineat. Chorus ejus nihil intercinit, quod non, secundum Ho- ratii prasceptum, proposito conducat et apte cohtereat. Heroas suos, ut pietatis et justitias amantes, imitando proponit, aut secus sentientes merito supplicio afficit." * Hor. A. P. 185. Ne pueros coram populo Medea trucidet. ON THE STYLE OF EUKIPIDES. 99 ON THE STYLE OF EURIPIDES. EX PORSONI PR^ELECTIONE IN EUPvIPIDEM, p. 4—15. Eo tempore, eo loco floruit Euripides, quo nihil ei, qui inge- nium moclo felix a natura accepisset, ad summam liberalium artium culturam deesse posset. In Atlienis enim natus est et educatus, in ea videlicet urbe, qu^e sola fuit ex antiquis Grraicite civitatibus posterorum seculis elegantiae omnis, philosophite, et poeseos niagistra. Eo fere tempore, tragcrdiam jam ^schylus a pristinis Thespiacorum plaustrorum sordibus purgarat, perso- naque et palla honesta induerat ; tragocdiam sibi ab -/Eschylo per manus traditam novis ornamentis adeo expoliverat atqu« excoluerat Sophocles, ut nulla amplius de scenica poesi bene merendi facultas superesse yideretur. Sed Euripides animum a teneris, quod aiunt, unguiculis philosophia? et eloquential praj- ceptis imbutus, eloquentia sua ad honores reipublica3 adipiscen- dos abuti nolebat ; philosophiam suam ad evellendos hominum aniniis nimis alte infixos errores, magistri sui Anaxagorai casu detcrritus, exercere non audebat. Ne tamen vitam suam in- glorio transiret silentio, utque eloquentiam suam atque philo- sophiam, in quantum res pateretur, ad humanam utilitatem traduceret, ad tragoedias scribendas animum appuiit, tanta dili- gentia, tanto successu, ut dubiam Sophocli ipsi, multorum certe sententia, palmam fecerit. Theatri pra3sidio fretus, ej usque quasi sub clypeo tectus et munitus, qu£e palam eloqui ipsi parum tutum foret, civium animis furtim instillabat. Falsas hominum religiones, magna seculorum veneratione consecratas, atque ipsa vetustate roboratas, quas aperte oppugnare nefas existimaturos esse cives bene prosvidebat, eas tecte sub persona aliena convel- lere aggrediebatur. Neque ceteris magis prasjudiciis pepercit, quibus plerosque mortalium passim onustos videbat " Errare, atque viam palantes qu^rere vitie." Quamvis vero non omnino honore et fama apud cives suos caruerit, vulgus tamen eum, dum vixit, hand prolixissimo est favore prosecutus. Ploravit scilicet et Euripides favorem speratum non respondere meritis suis ; adeo ut ex septuaginta, quas docuit, forsan et pluribus, fabulis quindecim tantummodo victorias reportarit. Sed quanto injustius a populo, cum Tragoediie suge in certamen committe- rentur, neglectus fuit, tanto impensius ab iis, qui judicio paullo plus valebant, quibusque poesis et sapientia cordi erant, cole- H 2 100 ON THE STYLE OF EURIPIDES. batur. Instar omnium esto Socrates, qui cum j^aucis esset annis minor Euripide, eum in magistri prope loco habebat ; et ceteris fere poetis neglectis, fabularum Euripiclearum constans et at- tentus spectator sedebat. Sed Euripides posterorum tequiora judicia quam suse getatis expertus est. Qua in re mira qu^edam inter eum et diligentissimum ejus imitatorem, Menandrum, in- tercedit similitudo. Menandro enim, teste Quintiliano, prayis fetatis su^ sufFragiis saepe praslatus est Philemon. Sed iniquam istam judicum suorum sententiam adeo niliili faciebat Menander, ut aliquando jemulum suum post ejus victoriam forte obvium interrogaret, Nonne te pudet, inquit, Philemon, me in comoedia vincere? Narrat ^lianus Euripidem, cum Andromedam do- ceret, aliasque duas tragoedias, a Xenocle nescio quo superatum esse. Hoc judicio vehementer, ut par erat, irascitur ^lianus, et judices aut indoctissimos esse, aut pretio corruptos, jure pro- nunciat. Sed Euripides unanimi omnium posterorum sententia inter principes saltern Tragicorum poetarum merito suo relatus est ; et si vel inferiorem eum ^Eschylo et Sophocle esse largia- mur, non exigua glorise pars fuerit cum talibus tantisque adver- sariis contendisse. Verum enimvero, ut quod sentio, libere fatear, qui ^schy- lum Sophocli et Euripidi pra^ferunt, errore ignoscendo quidem, sed errore tamen, ut mihi videtur, labuntur. Excusari autem facile possunt, propterea quod error eorum ex grati animi et am oris erga tragocdia3 patrem abundantia proficiscitur. Grandi- loquam, sed rudem majestatem pr« se ferunt omnes ^schyli tragoediie ; et si cujusvis dramatis totum spectabimus, aliquid semper ad summum perfectionis apicem deesse comperiemus. Ita nempe natura comparati sumus, ut eorum, qui pr^clari ali- cujus inventi auctores extiterunt, honesto pr^judicio virtutes in majus augeamus ; vitia vel prjetervideamus, vel excusemus, vel defendamus. Veris eorum meritis multa condonamus ; sed max- imum fere meritum est, facem aliis ad artem suam tanto opere illustrandam prceluxisse. Ob hoc solum dignus esset immorta- litate ^schylus, quod Sophoclem et Euripidem ad perfectissima Tragic^ Camenae exemplaria efformanda excitaverit. ISTeque enim hi sine illo tanti scenicae Poeseos auctores unquam evasis- sent. In comparationibus hujusmodi instituendis semper memi- nerimus, quis cui temporis ordine praicesserit. Major Poeta esse potuit ^schylus ; sed meliores fabulas docuere Sophocles et Euripides. Satis superque glorire est isti, Tragoedite patrem ac 2^1'incipem vocari ; quam tamen gloriam insigni modestia cu- mulavit, cum in sepulcro suo nonnisi Marathoni^e pugnge se adfuisse, ibique fortiter se gessisse, commemorare voluit. Cum aBquitatis et humanitatis lex, ut ingenuo pudore per ON THE STYLE OP ETjllI^IDES. lOl quos profecerit, quisque profiteatiir, praecipiat, Sophocles ^schy- lum summa reverentia semper colebat, gloriamque snam illi acceptam referebat. Euripides vero ingrati in magistrum et du- cem suuin animi crimine absolvi nequit. Stepius enim in tra- goediis suis ^scliyli imperitiam oblique et invidiose perstringit. ^l^scliylus, cum cam fixbulam, cui Septem contra Thebas titulum fecit, scribebat, in septem Tliebanorum ducum, quos Eteocles totidem Argivis ducibus pares designaret, descriptione maxime elaboravit. Hunc locum, cum imitari se posse non speraret Euripides, frigido joco in Phoenissis irridet. Sunt et alia loca, in quibus ^schyli famam maligno dente arrodit. Sed ha3C missa faciamus, et ad id quod potius nunc instat, convertamur. Adeo verum est, quod olim cecinit Hesiodus : non solum figu- lum figulo, et fabrum fabro, sed poetam poetae invidere. Cautius agendum est, et difficilius discrimen subeundum, si Soplioclem et Euripidem inter se comparare velimus. Uterque enim propriis virtutibus elucet, et si qua vitia Euripides liabet, quibus alter caret, magnis ea bonis redimit. Sophocles nullam scenam, nullam personam inducit, qua? non ad dramatis oecono- miam pertineat. Chorus ejus nihil intercinit, quod non, secun- dum Horatii pratceptum, proposito conducat, et apte coh^ereat. Heroas suos, ut pietatis et justitiie amantes, imitandos proponit, aut secus sentientes merito supplicio afFecit. Interim fatendum est, Euripidem contra has regulas non raro peccare. Episodia ad fabula) argumentum vix ac ne vix quidem facientia assuit ; choro cantica prorsus a re praisenti aliena frequenter tribuit ; multas impias atque improbas personis suis sententias dictat ; denique, quod non parvam voluptatis partem, quam spectator aut lector capere debebat, intercipit, ita clare omnia, qua3 dein- ceps eventura sint, in prologo enarrat, ut spes et metus, si non omnino tollantur, magna saltem ex parte minuantur. Qua^dam tamen in his sunt, qu^ facilem excusationem admittant. Quod enim singula, quai in fabula3 progressu accidunt, pra;dicit, studio perspicuitatis tribuendum est. Neque a verisimilitudine ab- horret, alios ejusdem seculi tragicos, propter hujusmodi defec- tum, parum ab auditoribus intellectos aliquando fuisse ; et hoc incommodum metuentem Euripidem, in alteram partem potius peccasse, et nimium claritati dedisse. Cogitate enim et de in- dustria, consilio non casu, hoc eum factitasse manifestum est ; quippe qui nullam imquam fabulam sine hujusmodi prologo edi- derit. Et licet a Comicis ob hoc ipsum derideretiu-, instituto suo ita pei'tinaciter adha^rebat, ut avelli nequiverit. Hoc vitium Aristophanes, qui Euripidi carpendo semper invigilat, nullam- que ejus exagitandi occasionem preetermittit, his verbis tangit. Euripides cum JEschylo de Tragocdia? principatu decertans, de H 3 IQ'^ ON THE STYLE OF EURIPIDES. invent! sque suis tragoeclieeque scribendae peritia glorians, ita de prologis loquitur : {Ra?i. 945.) EIt OV/C E\7]pOVV on TV')(OilJb OuS' SfJL'TTSaCOV s(j)vpov, 'AXV ov^ioov irpoiTiCTTa jjlsv ijlol to 7^1^05" zlirsv svOvs Tov Spdfxaro?. Sed Tragicus a more suo et consuetudine Comicorum risu ab- duci noluit. Dixi paullo ante, nuUam Euripidis tragoediam sine Prologo editam fuisse. Quod cum dicebam, non eram nescius^ objec- tionem esse paratam ; sed qua3 paratam quoque et expeditam liabeat responsionem. Objici nempe potest, duo saltem ex no- vendecim superstitibus Euripidis dramatibus prologo carere ; et plura adeo ex pluribus deperditis carere potuisse. Sed liuic argumento respondemus primo^ Rliesum, quse altera est excep- tionum duarum, Euripidi jam ab omnibus fere criticis esse abju- dicatum ; et banc sententiam ad summum probabilitatis gradum perduxisse cum alios viros doctos, turn nuper Hardionium et Valckenaerium. Alterum drama quod prologo caret, est Ipbi- genia in Aulide ; cujus sane initium, ut hodie editum est, audi- torem, more Sopliocleo, in medias res abripit. Sed neque liic deest quod regeramus. Cum enim ^lianus tres versus ex liac fabula citaverit, qui in dramate nostro, prout nunc habetur, nus- quam comparent ; cumque hi tres versus Diante totam tragoedia3 constitutionem exponent! aptissime congruant; quis dubitet, prologum hujus quoque olim fuisse dramatis, sed injuria temporis jamdudum periisse ? Ex deperditis fabulis multarum initia con- servata liabemus ; unde patet, morem liunc ubique et constanter tenuisse Euripidem : multarum initia solus conservavit Aristo- phanes ; ubi ^schylum inducit Euripideos prologos examinan- tem. Hinc, opinor, plane constat, non temere, sed certo judicio hoc quicquid est peccati sive erroris in se admisisse poetam. Semel in iis fabulis qua3 supersunt, Sophocles a consuetudine sua ad rivalls morem deflcxisse videtur ; non enim absimile est initium Trachiniarum prologo Euripideo, si quem ex minime vitiosis seligamus. At vero alia sunt, in quibus Euripides palmam a Sophocle auferre merito judicetur. Sermo ejus nativa simplicitate pluri- mum commendatur; quanquam non inficias iverim eum, dum verbis e medio sumtis perpetuo utitur, ad humile et abjectum dicendi genus propius nonnunquam accedere. Sophocles autem, dum vulgarem loquendi usum et formulas plebeias vitare studet, paullo proclivior est ad duras metaj^horas, contortas verborum inversiones, et si qua sunt similia ; qua? faciunt, ut obscurior, quam par erat, subinde evadat oratio. Cum Euripidem legimus, delectamur, et animi affectibus indulgemus; cum Sophoclem ON THE STYLE OF EURIPIDES. 103 tractamus, severam profecto operam Uteris navare videmur. Cliori denique Sophoclei, licet .^Cscliyleis longe intellectu faci- liores, plurimum tamen obscuritatis liabent. Vitium aliud Eurij^idis, sed dulce vitium est, quod sajDientiam suam intem2:)estive ostentat, et nutrices atque servos ex intimis pliiloso2)liia3 adjtis oracula fundentes inducit. Hoc fugere non poterat Nostri perpetuum censorem Aristophanem, qui propterea eum in Kanis sic exagitat : vix opus est ut vos moneam, Viri doctissimi, Euripidem ipsum a Comico loquentem fingi; (v. 948.) "Kttslt cltto to)v TTpcoTcov sTTCJV, ovSsv 7rap7]/c av ap^ov AKK kXsysv rj 'yvvrj rs fjuot ^co hovXos ovSsv rjrrov, Xft) Bsa-TTOTTjs, ')(/] irapdivos, '^ ypavs civ, Cui resj)ondens ^scliylus subjicit, sira SrJTa Ov/c aiToOavzlv as ravr SXPV^ ToXficovra ; Regerit Euripides, quod forsan ad res, quae hodie geruntur, de- torquere quis posset, /iia rov ^AttoWco, AijjULOKpartKoi' yap avr sSpcov. Fatendum est, hoc, si modo quid fabulaj constitutio et persona- rum proprietates flagitent, spectemus, magnum esse vitium ; vitium tamen, quod cum aliquo saltem commodo lectoris et voluptate conjunctum sit. Et quicquid in hac re peccavit Euri- pides, sciens et prudens peccavit. Quod autem minus ampul- larum et sesquipedalium verborum Euripides adhibet quam Sophocles, in eo, ut mihi videtur, facile excusari, imo defendi potest. Certe propius hoc modo ad naturae normam et ver^ vita3 consuetudinem acceditur. Si cogitatione fingere possemus di- cendi quoddam genus ex utroque poeta tequabiliter fusum et conflatum; quod nihil ex Euripide humile, nihil ex Sophocle durum retineret ; haberemus forte, quod maxime ad perfectum Tragoedite stilum appropinquaret. Inter ea non diffiteor, majo- rem me quidem voluptatem ex Euripidis nativa venustate et inaffectata simplicitate percipere, quam ex magis elaborata et artificiosa Soj^hoclis sedulitate. Hie fortasse meliores tragoedias scripsit ; sed ille dulciora poemata. Hunc magis probare sole- mus ; ilium magis amare ; hunc laudamus ; ilium legimus. Aliae sunt criminationes, quae non proprie ad Euripidem spec- tant, sed ei communes sunt cum Sophocle. Ad has igitur, quam potero, brevissime respondebo. Prjecipue fere criminationes lije sunt ; quod nimis longis narrationibus saepe ttedium facit ; et H 4 104 ox THE STYLE OF EURIPIDES. quod ssepe duobus personis ita aequaliter versus dividit, ut per mao'nam dialog! partem altera alteram singulis versibus excipiant. Si liaic sunt vitla, vitia utique sunt, quorum neque Sophocles immunis est ; nee euro, ut verbis Ulyssis de Achille utar, " si jam nequeam defendere crimen Cum tanto commune viro." Si tamen non satis hac culj)^ societate defensus existimabitur cliens noster, videamus an quicquam ratione profici possit. Yitiorum, quie modo memoravi, alterum mihi videtur ex di'amatis antiqui natura et constitutione, alterum ex Grteci sermonis indole et in- genio oriri. Cum Grasci Tragici tempore certo et loco circum- scriberentur ; necessario pene id quoque consecutum est, ut intra certas materias subsisterent. Unitas, qua vocatur, temporis et loci, unitatem etiam actionis plerumque postulavit. Xon tamen semper e venire potuit, ut actio simplex satis materije ad justum drama explendum suppeditaret. Avide igitur arripiebant poetfe oblatam occasionem, et in narrationibus ornandis atque amplifi- candis libentissime excurrere et l^tius exultare solebant. Nos autem, qui plures actiones in eodem dramate una conteximus, neque liujusmodi ornamenta tam studiose conquirimus ; et si forte luxuriantis ingenii poeta tales lacinias operi suo attexit, cum fabula postea rejDOscitur, omnes plerumque recidimus. Ni- mirum antiqui nimia brevitate laborabant ; nos nimia longitudine peccamus. Nulla, quantum meminerim, adhuc superest tragoe- dia, quae ad duo millia versuum assurgat, multae vix ultra mille exciuTunt ; cmn brevis nobis videatur fabula, quae non tria sal- tem millia numeret. Ad alteram accusationem jam deventum est, qu^ nuUo negotio diluetur. Ea est Griec^ linguae perspicuitas, ea nudtum in parvo dicendi facidtas, ea particularum vis et claritas, ut, una earum apte inserta, simul ad id quod prior interlocutor dixerat, respondeatur, simul sententia utraque ita constringatur et copu- letur, ut ex duabus una efficiatur. Sed cum hujus effectus per- ceptio ex usu diuturno GrjBci sermonis, ex diligenti lectione, ex attenta meditatione pendeat, quid mirum, si homines indocti, cum primum Tragicos Gra3COs obiter et otiose inspiciunt, ad suam quisque linguam, ut fit, id quod Gra3ca3 est proprium, re- vocent, et quod in suo sermone vere Aatium esset, alieno sine causa affingant ? Deinde Tragici mira brevitate sententiam uno versu, sjepe concludunt, qu^e nonnisi per longas in quavis alia lingua ambages declarari posset. Ceterum illud, credo, omnes Gr^ce scientes libenter mihi concesserint, si Tragoedit^, quas superessent, longe lis quas in manibus habemus, inferiores essent ; cum tamen veluti tabulae e luo-ubri literarum naufrao-io enatarint, omni veneratione esse amplectendas, omni cura con- servandas, omni diligentia pervolutandas. Nulla nobis ex anti- quis monmuentis restant, quorum assidua lectio junioribus ON THE STYLE OF EURIPIDES. 105 inajore studio sit commendanda ; utpote qufe maxime ingenuam, maxime liberali liomine dignam yoluptatem pr^ebeant. Quod ad Euripidein attiuet, eum sane Quintiliauus non dubi- tavit discipulis suis, in foro dicere incii^ientibus, ut utilissimum scriptorem tradere. Verba facundissimi rhetoris lia3C sunt. " Sed longe clarius (^scliylo) illustraverunt hoc opus Sophocles atque Euripides ; quorum in disjDari dicendi via uter sit poeta mehor, inter plurimos quceritur. Idque ego sane, quoniam ad rem prtesentem niliil pertinet, injudicatiun relinquo. Ilhid qui- dem nemo>non fateatur necesse est, iis, qui se ad agendum com- parant, utiliorem longe Euripidem fore. Xamque is et in sermone, quod ipsmn reprehendunt, quibus grayitas et cothurnus et sonus SophocHs videtiu' esse sublimior, magis accedit oratorio generi: et sententiis densus, et iis qu^e a sapientibus tradita sunt, pene ipsis par: et in dicendo et respondendo cuihbet eorum, qui fuerunt in foro diserti, comparandus. In affectibus Ycro, cum omnibus mirus, tum iis, qui miseratione constant, facile pr^ecipuus. Hunc et admiratuff maxune est, ut siej^e te- statur, et secutus, quanquam in opere diverso, Menander : qui yel unus, meo quidem judicio, diligenter lectus, ad cuncta, quas prtecipimus, efficienda sufficiat ; ita omnem yitte imaginem ex- pressit ; ita est omnibus rebus, personis, affectibus accommo" datus." Hanc quidem admu'abilem Euripidis in dicendo virtutem, dum yi yeritatis coactus fatetur, callide tamen et malio-ne eleyare conatur Aristophanes, emu yocando poetam oratiuncularum forensium, irQiT^rr^v .prjfjbarLwv ScfcavcKcov. (Pac. 534.) Sed ca- lumnias noti et professi inimici tuto spernimus. Fuit Ai'isto- phanes yu* doctus, homo facetus, poeta in prunis bonus ; et propter purissimum Attici sermonis saporem ij^si etiam Platoni commendatissunus ; sed idem fuit liberrimi oris scurra, et yms se longe majoribus inchgnis modis insultayit. Philosophos et poetas omni genere conyiciorum et contumeliarum yexayit ; dummodo risum spectatoribus excuteret, nemini parcebat ; niliil priyatum neque publicum, sanctmn iieque profanum curabat. Hujus iniquitatem erga Euripidem Socratis amicitia, Platonis admiratione abunde compensabimus. Denique omnis joosteritas, omnes gentes, ad quas quidem liter^e humaniores peryenerint, Tragicum nostrum maximi semper fecere, et sumnio in pretio habuerunt. Testes sunt captiyi Athenienses, quos, dum seryi- tutis miserias cantandis Eurij^idis yersibus alleyabant, audientes domini liberates dimiserunt. Testes sunt philosoj^hi, qui Euri- pidi yix minus auctoritatis ad opiniones suas confirmandas, quam Homero ipsi tribuerunt. Et si criticorum suffragia desideratis, duo summi critici, iidemque philosophi, Aristotelem atque Lon- ginum inteUigo ; critici, quorum ex alterius utrius suffragio satis magnum cuivis sententite pondus accederet, uterque in Euripide 106 DUTIES OP THE CHORUS. siimmis laudibus ferendo amicissime conjurant. Sed ex omnibus pliilosophorum disciplinis, nulla erat qua3 libentius i^oetarum testimonia usurparet, quam Stoicorum. Hujus sectse princeps Chrysippus tarn frequenter in quodam libro suo versus ex Euri- pidis Medea pro testimoniis posuerit, ut is liber a festivis homi- nibus Chrysippi Medea vocaretur. Et vix quisquam est doc- trina clarus rhetor, aut ullius generis scriptor, qui non ad Nostri testimonium aliquando pro voce t, aut versus ejus ornamenti saltem et varietatis gratia orationi sua? intexat. MISCELLANEOUS OBSEEVATIONS. REASON OF SACRIFICING A GOAT TO BACCHUS. The reason why the goat was sacrificed to Bacchus was, from its being most obnoxious to that Deity, because it browsed on the vines : thus Virg. G. ii. 380. Non aliam ob cidpam Baccho caper omnibus aris Casditiu^, et veteres ineunt proscenia ludi, • Pr^miaque ingeniis pagos et compita circum Thesid^e posuere. Ovid. Fast. L 353. Sus dederat poenas : exemplo territus hujus Palmite debueras abstinuisse, caper. Quem spectans aliquis dentes in vite prementem, Talia non tacito dicta dolore dedit : Rode, caper, ^dtem : tamen hinc, cum stabis ad aram. In tua quod spargi cornua possit, erit. Verba fides sequitur : noxfe tibi deditus hostis Spargitur afi:iTSO cornua, Bacche, mero. DUTIES OF THE CHORUS. The duties of the chorus, as defined by Horace (A. P. 193.) are these : NUMBER OF THE CHORUS. 107 Actorls partes Chorus, officiumqiie virile Defendat : neu quid medios intercinat actus. Quod non proposito conducat, et lia^reat apte. lUe bonis faveatque, et consilietur amice : Et regat iratos, et amet peccare timentes. Ille dapes laudet mensas brevis : ille salubrcui Justitiani, legesque, et apertis otia portis. Ille tegat commissa, deosque precetur et oret, Ut redeat niiseris, abeat Fortuna superbis. Aristotle gives the same precept : Poet. 32. Kal rov x^P^^ ^^ sva Bsl v7ro\a/3sLP twv VTroKpcrcbv, fjur] fiopiov stvat rod okov, fcal (TVvaycDVi^saOat, fir] wairsp irap' ^vpLirlhrj, a)OC coairap irapa Xo(f)o- kXsI. The propriety of the choral songs in Sophocles is generally admitted; in Euripides they are frequently irrelevant to the subject ; ^schylus is also entitled to praise for consistency in this respect. " We find the chorus in the Greek tragedies frequently con- tributing, in some little degree, to the progress of the action, by active offices of friendly attention and assistance ; as, for example, in the Philoctetes and the Ajax of Sophocles. It is curious to trace the gradual extinction of the chorus. At first, it was all ; then relieved by the intermixture of dialogue, but still principal ; then subordinate to the dialogue ; then digressive, and ill con- nected with the piece ; then borrowed from other pieces at plea- sure ; and so on, to the fiddles and the act tunes. The per- formers in the orchestra of a modern theatre are little, I believe, aware that they occupy the place, and may consider themselves as the lineal descendants of the ancient chorus. Orchestra (opXWTpa) was the name of that part of the ancient theatre which was appropriated to the chorus." — Twining. NUMBER OF THE CHORUS. With respect to tlie number of the chorus, Miiller's hypothesis is this : — " The trao-ic chorus, as we learn from Aristotle and others, was derived from the dithyram])ic, which we know, from various sources, consisted of fifty persons. This being the case, it is quite natural to suppose that the choregus furnished the same numl:)er of dancers for the tragic chorus, as he had previ- ously been accustomed to provide for the dithyrambic, and that the distribution of these fifty persons into the component cho- ruses of the tetralogy (viz. twelve or fifteen) was left to the discretion of the poet. In this case, the well-known statement of Pollux^ that the chorus of Eumenides consisted of fifty, may 108 TROVIDING AND TRAINING THE CHORUS. still be defended, if we suppose Pollux to have misconceived something that he had learnt relative to the number of Choreutas for the whole tetralogy, of which number, as we have seen, at least three-fourths were on the stage at the end of the Eume- nides. Still, however, the number fifty requii*es some modifica- tion. The dithyrambic chorus was cyclic, and sang the dithy- ramb in a circle about the altar, passing round it, first in one direction and then in the other ; but the tragic, as well as the comic and satyric chorus, was ciuadr angular, rsrpdycovos, which latter expression is clearly and definitely distinguished from the former. Now a quadrangular chorus is one that is divided into rank (^^vya) and file (crrL')(OL, (iToiyoi), so as to form a quadrangle. Its number therefore must always be a composite number, as 3x4r=:l 2, 3x5 = 15. But as it appears that the component numbers are never so far apart that the one is double of the other (3 X 4 or 3 X 5 is the tragic, 4x6 the comic chorus), it is not probable that there should be a quadrangular chorus of 5 X 10. If the trao-ic chorus of earlier times came on the stao-e ... • • ^ as an undivided whole, it is much more credible that its number \f?i& forty-eight, 6x8. " Now an equal division of tliis chorus of forty-eight gives twelve Choreutce for each of the four j^lays. Twelve therefore recommends itself, even in this point of view, as the probable number originally employed by ^schylus. Moreover, twelve is just half the number of the comic chorus, for which, it seems, owing to the far less encouragement given by the state to comedy, half as many persons were deemed sufficient, as were required for the collective chorus of a tragic tetralogy. The original number of Choreuta? in each tragedy cannot have been fifteen, because in that case either the collective chorus must have extended beyond fifty, whcTcas its intimate connexion with the dithyrambic chorus, forbids us to suppose this ; or there would be only five left for the satyric drama, which would be too small a number for a festive chorus, and far too meagre and scanty a representative of the merry crew of Bacchus, a spectacle so delightful to an audience in that early age especially." — Mailer s Eumenides, p. 53. REGULATIONS AVITH RESPECT TO PROVIDING AND TRAINING THE CHORUS. X^P^^ ahsLV, hovvai^ \a(3siv, hthdcTKSiv. " ^schylus having determined to present himself as a candi- date for the tragic prize at the Dionysian festival, at which he produced his play of the Eumenides, was first of all obliged, by the regulations of the Athenian festival, to apply to the chief of NUMBER OF ACTORS. 109 the nine arclions for a chorus. He obtained one (')(opov s\a/3s) ; and Ave learn from the Didascalia that the chorus assigned to him was that which a wealthy individual, Xenocles of Aphidna, had engaged, in the capacity of Choregus of his tribe, to collect, maintain during their training, and equip for the stage. He then proceeded to^train {hihaaKSiv) this chorus for his four plays ; that being the number which, by established custom, the tragic poet was required to produce on the stage at the same time : these were, the Agamemnon, the Choephoroe, the Eumenides, and the Proteus, a Satyric drama. The training was a business of the state, whose judgment in such matters could be guided only by public and ocular demonstrations, regarded as the most essential part of a dramatic poet's duty ; and accordingly, by old-established precedent, the prize was never awarded to the poet, as such, but invariably to the teacher of the chorus {'xopov SLSdcTKaXo^y — p. 47. The poet was said %o/3w alrstv, the archon ^. hovvai. Ao8d<7KSLV Spd/ia, docere fabulam. The primitive meaning of SiSda/csiv Spdfia, is to teach a plag ; i. e. to the actors ; because the poet taught them their parts, or instructed them how to perform them. Hence it means to ex- hibit a lilay, and to compose one. In the latter sense, the Latins use the phrase docere fabulam : Hor. A. P. 288. Vel qui prcB- textas, vel qui docuere togatas : '^ whether they have composed tragedies or comedies for the stage." NUMBER OF ACTORS LIMITED TO THREE. i The following are some general rules of Horace for the con- ^ struction of a play : A. P. 189. Neve minor, neu sit quint o productior actu Fabula, quae posci vult, et spectata reponi. Xec deus intersit, nisi dignus vindice nodus Inciderit : nee quarta loqui persona laboret. " In the origin of the drama, the members of the chorus were the only performers. Thespis was his own actor, or, in other i ■ words, he first introduced an actor distinct from the chorus, ^schylus added a second, and Sophocles a third ; and this con- . tinned ever after to be the legitimate number. Hence, when f three characters happened to be already on the stage, and a fourth was to come on, one of the three was obliged to retire, change his dress, and so return as the fourth personage. The j poet, however, might introduce any number of mutes, as guards, 110 NUMBER OF ACTORS. attendants, &c." Antlion. Aristot. Poet. x. Kal to, ts tmv vTTOKpiTMV irKrjOoSf s^ ivo9 sl9 Bvo irpoyros Alcr')(v\o9 TJyays, Kal ra rnv Yopoi) yXdrrcocrs, Kol rov \6yov TrpcoTajcovLarTjv Trapsa/csvacrs' TpsL9 Bs Kol a/c7]voypacf)Lav '2,o(po/c\'}]9. " ^schylus first added a second actor : he also abridged the chorus, and made the dialogue the principal part of tragedy. Sophocles increased the number of actors to tlu"ee, and added the decoration of painted scenery." — Twining, Themistius, Orat. xxvi. attributes the introduc- tion of the third actor to ^schylus : we meet with three actors in some of his remaining plays, as in the Choephoroe, where Cly tajmnestra, Orestes, and Electra appear together ; but in this it is supposed that he imitated Sophocles. The reason for re- stricting the numljer of actors, as Tyrwhitt observes (on Aristot. p. 13.) was to limit the expenses of the choragus. "Tyrwhitt points out a scene in the Choephoroe of -^schylus, where only thirteen verses (887 — 889.) are interposed between two speeches which are spoken by the same actor in tw^o different characters. In the same manner, the actor wdio represents Ulysses in the Rhesus, leaves the stage after v. 626. and returns in the cha- racter of Paris before v. 642. It appears from these instances, that the recitation of twelve or fifteen trimeter iambics allowed an actor sufficient time to retire, change his dress, and to return. Neither Tyrwhitt nor the Reviewer has noticed the scene in the Andromache of Euripides (v. 546.), in wliich Peleus enters and interrupts a conversation between Andromache, Molossus, and Menelaus. Here are evidently four actors on the stage at the same time, although Molossus does not open his lips after the ^ entrance of Peleus. Molossus, however, is a young child, and it is probable that young children did not fall within the rigour of the law. As the same actor cannot perform the parts of a little boy or girl, and of a full-grown man or w^oman, it would have been impossible, if the indulgence of wliich we are speaking had not been allowed, to put a few words into the mouth of a child, without giving up the convenience of a third actor for the adult characters. In the tragedy before us, for instance, if this licence had been withheld, the poet w^ould have been compelled either to omit the dialosjue between the mothers and the children of the deceased captains (vv. 1123 — 1163.), or to arrange the first part of the play in such a manner as to prevent Theseus and Adrastus from being on the stage at the same time with ^thra, and afterwards with the Theban herald. ^We hope here be facts.' We must acknowledge, however, that we have observed other facts, which do not quite so well accord with our hypothesis. The Medea and the Alcestis of Euripides are the only other Greek tragedies in which cliildren speak. There are two children in the Medea ; but as they speak from behind the SATYRIC DRAMA. Ill scenes, both parts, which contain only four lines (vv. 1271, 1272. 1277. 1278.), might be given to the same performer. Now it is very remarkable, that the JNIedea and the Alcestis are the only j^lays of Em'ipides, in which a third actor is not required for the rej^resentation of the adult characters. If the reader will ex- amine these two plays attentively, he will perceive that the con- trivances, which are adopted in most cases for the purpose of rendering a foiu'th actor unnecessary, are applied in these two pieces, to the exclusion of a third actor. In the ]Medea, if we assign the part of Medea, and the part of the UatScvywybs at the opening of the play, to the Trpwra^wvia-rr^s or princijoal per- former, the second performer might represent the other five characters, and the Tiaiha^yw^os at his second appearance, with- out any inconvenience. As IMedea speaks for a consider- able time without being seen, the circumstance of her voice being heard (v. 96.) before the Tiaiha'yoii^os has been sufficiently long off the stage to change his dress, is inmiaterial. In the Alcestis, we may assign to the first actor the parts of Apollo, Admetus, and the man-servant ; and to the second, the parts of Death, Alcestis, Hercules, and Pheres. The maid-servant might be represented by either of them. At the conclusion of the play, when Alcestis is brought back to Admetus by Hercules, she preserves the most obstinate silence, to the great admiration of her husband. The poet attempts to assign a reason for her silence (v. 1147.), but we believe the true cause to have been, that the actor, who wore the robe and mask of Alcestis in the beginning of the play, is now present in the character of Her- cules. It shoidd seem, therefore, that the liberty of introducing a child as an actor extraordinary had not been established when Euripides wrote his Medea and his Alcestis, which Ave believe to be the two earliest plays of his composition which have been pre- served." — Elmsley s Notice of Hermamis Supjjlices: Class. Jour. viii. p. 434. SATYRIC DRAMA. Horace, A. P. 220. Canuine qui tragico vilem certa\4t ob hircum, Mox etiam agrestes Satyros nudavit, et asper Incolumi gravitate jocum tentavit, eo quod Illecebris erat, et grata novitate morandus Spectator, functusque sacris, et potus, et exlex. " Agrestes Satyros nudavit : hrouglit the wild Satyrs naked on the stage, i. e. exhibited on the stage perfonners habited in skins. 112 DIALECT, ETC., OF THE CHORUS. and resembling in appearance the Satyrs of fable. This allusion is not to the satyric chorus, but to what is styled the satyric drama; the history of which is briefly this. The innovations of Thespis and Phrynichus had banished the satyric chorus with its wild pranks and merriment. The bulk of the people, however, still retained a liking for their old amusement amidst the new and more refined exhibitions. Pratinas, a native of Phlius, in accommodation to the popular feeling, invented a novel and mixed kind of play. The poet, borrowing from tragedy its external form and mythological materials, added a chorus of Satyrs with their lively songs, gestures, and move- ments. This was called the satyric drama. It quickly at- tained great celebrity. The tragic poets, in compliance with the humour of their auditors, deemed it advisable to combine this ludicrous exliibition with their graver pieces. One satyric drama was added to each tragic trilogy, as long as the custom of contending with a series of plays, and not with single pieces, continued, ^schylus, Sophocles, and Euripides, were all dis- tinguished satyric composers ; and in the Cyclops of the latter we possess the only extant specimen of this singular exhibition." — Anflion, DOEIC DIALECT IN THE CHORUSES. Aristot. Poet. 5. ^ AvrnroLovvTai rrjs rs rpayayStas koI rfj^ Kco/xwSlas ol AcopLs2s' rrj9 fjbkv KWjjiwhlas ol Ms'yapets', koX ttjs Tpay(pBia9 svtot tcjv sv Yls\oTTovvr](j(p. This claim of the Dorians* to the invention of tragedy and comedy derives support from the use of the Doric dialect in the choruses. This Doric, how- ever, is different from that of Pindar or Theocritus. ^^fjifjbiXsLa, cr')(fjiJiaTa, KopBa^, (tIklvvls. The solemn tragic dance was termed s/ji/jis\sLa: the various figures of . which it consisted cr'^jj/jbaTa : the comic dance was called KopBa^: the satyric o-Iklvvls. PROLIXITY OF THE TRAGIC CHORUS RIDICULED BY ARISTOPHANES. ^schylus, according to Aristotle, abridged the choral part. On this, Twining, p. 159., has the following remark : " The prolixity of the tragic chorus, we know, was sometimes trying to the patience of an Athenian audience. This is pleasantly glanced at by Aristophanes in his "OpvtOss, v. 758., where the CLAIMS OF TRAGEDY TO DIGNITY. 113 chorus of birds, descantins^ on the convenience of winces, tell the spectators, that if they had wings, whenever, in the theatre, they ' found tliemselves hungry, and were tired with the tragic chorus, they might fly home and eat their dinners, and fly back again when the chorus was over.' " CLAIMS OF TRAGEDY TO DIGNITY. Arist. Poet. x. "Ert Bs to fxiysdos sk jjuKpuv /xvOcov kol Xs^sws ysXaiay, Bca ro sk aarvpLKov /ULsra/SaXsLV, 6-\Jrs drrscrsfivvvOTj : " It was late he fore tragedy threw aside the short and si)nple fable, and ludicrous language of its satyric original, and attained its proper magnitude and dignity, What Horace says of the Roman tragedy, is, in some measure, though perhaps not equally, ap- pHcable to the Greek : in longum tamen asvum Manserunt, hodieque manent vestigia rm^is. Ep. ad Aug. 160. Prejudice aside, it cannot surely be said, that the Greek tragedy, in the hands, at least, of ^schylus, Sophocles, or Euripides, ever attained its proper dignity: I do not speak of modern dignity; of that uniform, unremitting strut of pomp and solenmity, which is now required in tragedy. This was equally unknown to the manners, and to the poetry, of the ancients. I speak only of such a degree of dignity, as excludes, not sim^ihcity, but meanness — the familiar, the jocose, the coarse, the comic. Xow it cannot, I think, be said, with any truth, that these are thoroughly excluded in any of the Greek tragedies that are extant ; in some of them they are admitted to a very consider- able degree. In particular, something of this sort is almost constantly to be found in the short dialogTie of the Greek tragedies, v\^hich is carried on in a regular alternation of single verses. In this close Jighting of the dialogue *, as I)ryden calls it, which seems to hiive retained something of the spirit of the old satyric diverbia, where in the origin of the Greek, as well as of the Roman di'ama, versihus alternis opprohria rustica fundunt (Hor.), in this part of the dialogue, we generally find, mixed indeed frequently with fine strokes of nature and feeling, some- Avhat more than what Brumoy calls un petit vernis de familiarite ; especially when these scenes are, as they often are, scenes of altercation and angry repartee. If that be tragi-comedy, which is partly serious and partly comical, I do not know why we * Termed by J. Pollux, a-rix^iwdfiv. Guide, I 114 TROCHAIC MEASURE. should scruple to say, that the Alcestis of Euripides is, to all intents and purposes, a tragi-comedy. The learned reader will understand me to allude particularly to the scene in which the domestic describes the behaviom- of Hercules ; and to the speech of Hercules himself, which follows. In the first scene of the Ajax, from v. 74. to 88., the dialogue between Minerva and Ulysses is perfectly ludicrous. The cowardice of Ulysses is almost as comic as the cowardice of Falstaff. No unprejudiced person, I think, can read tliis scene without being convinced, not only that it must have actually produced, but that it must have been intended to produce, the eifect of comedy. * It ap- pears indeed to me, that we may plainly trace, in the Greek tragedy, with all its improvements and all its beauties, pretty strong marks of its popular and tragi-comic origin. The true praise of u9^schylus, Sophocles, and Eurij^ides, is (in kind at least, though not in degree) the praise of Shakspeare ; that of strong, but irregular, unequal, and hasty genius. Every thing which this genius and the feeling of the moment could produce in an early period of the art, before time, and long experience, and criticism, had cultivated and refined it, these writers possess in great abundance : what meditation, and ' the labour and delay of the file,' only can efiect, they too often want." — Twining, TROCHAIC MEASURE. "As the trochaic measure was still occasionally admitted, even in the improved and serious Greek tragedy, and in par- ticular occurs very frequently in the tragedies of Euripides, it is natural to suppose that a still more frequent use of it would be one of the characteristics of the satyric drama, which seems to have been only a sort of revival, in an improved and regular form, of the old trochaic tragedy, 'with its chorus of dancing satyrs. It seems therefore somewhat remarkable, though I have not seen it noticed, that in the only satyric drama extant, the Cyclops, and that written by Euripides, who has made so much use of this measure in his tragedies, not a single trochaic tetrameter is to be found." — Tivinincf s Notes on Aristot. The plays in which the greatest number of trochaic lines are found, are the Persa? of ^schylus (which was acted in the archonship of Menon. 01. Ixxvi. 4. and gained the prize), and the Ipliigenia in Aulis of Euripides. * To these instances we may add their grief in the several methods the scene between Xerxes and the suggested by the former; and that Chorus in the Persae of ^schylus, between Orestes and the Phrygian, in where the latter obsequiously express the Orestes of Euripides. PROLOGUES OF EURIPIDES. 115 THE PROLOGUES, PARTICULARLY OF EURIPIDES, SHOW TRACES OF THE ORIGIN OF THE DRAMA. " I ventured, in a foraier note, to say that the Greek tragedy appeared to me to have retamed, with all its improvements, some traces of its origin. Something of this may be perceived, I think, in the very opening of many of the Greek dramas ; but especially in those of Em'ipides, whose inartificial prologues of explanatory narration, addressed directly to the spectators, re- mind us of the state of tragedy previous to the introduction of the dialogue; when it consisted only of a story told between the acts (if I may so speak) of the dithyrambic chorus, which was then the main body and substance of the entertainment. When I read the opening of the Hecuba : ''H/cft), vsKpcov KsvOfiodva KoX GKOTOV irvXas UpLci/jLov TS irarpos' .... that of the Persee of -^schylus : TdBs [ikv Tlspcrwv tcov ol')(opiEV(t3V 'EXXaS' S9 alav iriGTa KaXstrai' or, even the AvT09 (w8' sXrjXvOa ^O iraat kXslvos OlBlttovs KaXov/jbSvos of Sophocles (CEd. Tyr.), I cannot help thinking of the single actor of Thespis announcing his own name and family, and telling the simple tale of his achievements or misfortunes. Almost all the tragedies of Euripides open in the same manner. See, in particvJar, Iphig. in Tam-., Baccha3, and Phoeniss^e. Of all the openings of Sophocles, that of the Trachinia3 resembles most the manner of Euripides." — Twining' s Notes on Aristot. In two plays alone, viz. the Persae and Supplices of -^schylus, the Chorus itself performs the part of the Prologue. ITapoSi 09. " There are not, I think, more than four or five Greek tra- gedies in which the Chorus is present from the beginning. The YidpoBos, or entry of the Chorus, probably made one of the most splendid and popular parts of the o-v/r^s', or show, of the ancient tragedy." — Tioining. The term Hdpohos is also applied I 2 IIG LANGUAGE OF TllAGEDY. to the ode sung by the Chorus on its entrance. J. Pollux, iv. 108. Kol r) yu.£V s'icroSos rod X^P^^ irdpoZos KaXsLrai' i) Bs Kara Y OS Lav E^oSos, (09 ttoXlv slatoPTcoVy fjbsravdcTTaaLS. — Blomf. Ag. PrcBf, p. xiv. CHORAL ODiiS. — Xraat/jba AND KofjU/jLoL " The Odes of ancient Tragedy divide themselves in general into two classes : Odes of the entire Chorus, the chief of which are the Stasima ; and Odes sung by individuals. The latter are either Odes sung by one or other of the Dramatis Persona3 alone (jd cLTTo cTKrjvrjs, or /xovcpBiat); or Odes divided between the acting persons and the Chorus, which are called ko/xillgI, be- cause, in the earliei' form of Tragedy, lamentations for the dead formed their principal subject ; or thirdly, portions sung by the Chorus, but in single voices, or in smaller divisions of their whole body. The Stasima divide the Tragedy into acts ; they form pauses in the action, allow opportunity for the entry of new characters, and indicate perceptible lapse of time. In re- spect of their intrinsic purport, they serve to impart to the mind that coUectedness and lofty self-possession which the ancient Tragedy labours to maintain, even in the midst of the strongest excitement of the passions. On the contrary, the Cotnmatica, and the species allied to them, are component parts of the indi- vidual act or section (so that they might often be replaced by dialogue, of which indeed they do but form a lyrical climax, as it were), and, as such, contribute essentially to the conduct of the action by their lively expression of will and purpose, pas- sionate desire, conflicting or accordant inclinations and endea- vours." — Mailer'' s Eumenides, p. QQ. " Hermann says, that the Stasimon was so called, not because the Chorus stood still while they sang it, which they did not, but from its being continuous, and uninterrupted by anapsests or trochees ; and as we should say, steady : it seems to be derived from crrdcns, a set, ardcrts /jLsXcov, a set of choral songs, i. e. a strophe and antistrophe, and perhaps an epode." — Mus. Crit. vol. ii. p. 484. LANGUAGE OF TRAGEDY. "With respect to the Greek tragedy, its earliest language appears to have been of a low and burlesque kind — the Xs^ls rysXoLa of its satyric origin, conveyed in the suitable veliicle of the dancing tetrameter. Wlien it was reformed and dignified, Homer was the model ; and ^'Eschylus, with a conception na- EXHIBITION OF THE TETRALOGIES. 117 turally sublime, and the Iliad before him, raised the tone of tragedy above its proper pitch, not only to the pomp of the epie, but even, frequently, to the wild and tumid, and dark audacity of the dithyrambic; so that, sometimes, as extremes will meet, the \s^c9 ysXoia, which he took so much pains to avoid, came round and met him, in the shape of bombast, at the very moment when he thought himself at the greatest distance from it. There could not well be any thing in the theatrical cart of Thespis more laughable, than to* call smoke * the brother of fire,' and dust, ' the brother of mud.' (S. c. Th. 500. Agam. 503.) Sophocles reduced the general language of his dialogue to a more equable and sober dignity, but still. Homer, we know, was his great model ; and of his diction it may, perhaps, be said, that it is often epic, though his measure is iambic. Most modern readers, however, will, I believe, think it (as we are told many ancient readers did) more adapted to the genius of tragedy than that of Eurijoides ; who seems to have been regarded by the ancients as the first who brouo-ht down the lano-uao-e of trao-edv into unison with the measure, so that the one bore the same degree of resemblance to the common speech in its other ex- pressions, as the other did in its rhythm." — Tioining. EXHIBITION OF THE TETRALOGIES. " It seems to have been a commonly received opinion, that the four dramas of each poet, which composed the tetralogiiD, were always performed at one hearing — in one day. In this case, if one poet only produced his tetralogia, there could be but four tragedies ; if two, there must be eight ; if three, twelve, and so on : there could be no intermediate numbers. In so ob- scure a subject, I certainly shall not take on me to decide. The passage, however, commonly adduced, I believe, as the principal authority in this matter, from Diogenes Laertius (iii. 5Q.), ap- pears to me to be against this supposition. The words are these : 'E/cetfot (sc. tragici) Tsrpacn Spd/xaacv r)ycoi>L^ovTo^ Atovv- aloLS, Arjvalois^ YlavaOrfvaiois, x^vTpoc9, mv to rsraprov tjv craru- piKov TCL hs rerrapa Spd/juara sKdkstro TsrpaXoyta. Here are four festivals and four dramas ; and the most obvious meaning of the passage surely is, that each contending poet produced, not his entire tetralogia at the same festival, but one tragedy only at each different festival. And thus, I find. Menage un- derstood: 'On ne representoit, chacim de ccs jours-la, qu'uii poeme de chaque poete.' And so Is. Casaubon appears to have understood it : ' Quot Athenis Liberalia agitabantur, tot fabulas diversas a tragicis poetis doceri solitas legimus.' This suppo- I 3 118 DERIVATION OF THE WORD virOKpiTrjS. sition seems to be rendered probable from the very nature of the rival exliibitions : as each contending poet would then produce his drama at the same hearing, each hearing would be a distinct day of contest, and there would be, at each contest, a sufficient ground of judgment on the comparative merits of each perform- ance. The satyric drama probably closed the entertainment of each day. In the whole theatrical system of the ancients, and every thing relating to it, all seems to have been proportionably vast, extravagant, and gigantic. Their immense theatres, their colossal di'esses, the stilts, buskins, or heroic pattens, on which the actor was mounted, their masks that covered the whole head, their loud chanting, and speaking-trumjDct declamation; all this is on the same scale with the intemperate eagerness of the people for these amusements, the number of tragedies exlii- bited in one day, and, we may add, the almost incredible num- ber said to have been written even by their best poets. Would not this last circumstance alone, supposing not a single drama to have been preserved, have furnished a reasonable proof, a jjriori, or, at least, a strong presumption, that the Greek tragedy must have been, in many respects, a simple, unequal, imperfect thing, just such as, in fact, and prejudice apart, we find it to be ? Sophocles, confessedly the most correct and polished of the three great tragic poets, is said to have written above 100 tragedies." — Timning, TESTIMONIES OF ARISTOTLE AND LONGINUS IN FAVOUR OF EURIPIDES. Aristot. Poet. 26. Kat o ^vpvnihris, si koI ra aXKa fjurf sv oLKovo/jLSt, dWa TpajiKcoraros ys tmv Trocrjrayv (palvsTac. Longin. xv. 3. "Kart, /xsv ovv (^iXoirovodTaTOS 6 ^vpLTTiBrj^, Suo rauTL irdOrj, fjuavlas rs koI spcoras, sfcrpaywSrjcraL, kolv tovtols, ws ovK olS' sl TiCTiv sTspoL9, £7rLTV)(scrTaT0s' ov fJLrjv dXkd Kol racs aX\ai9 sTTiTiOsaOai (^avraalais ovk citoX/jlos. "YiKLard ys roc fjLsya\o(f)vr}9 cbv, ofMws rrjv avro9 avrov (pvaLV sv iroXkols ysvsaOat rpayiKTjv TrpocrTjvdy/caors. DERIVATION OF THE WORD V7rOKpCTrj9, AN ACTOR. Eustathius* ad Iliad. H. 407. 'Icrrsov Bs kol on ovk olSsv "OfjLTipos rrjv Xs^LV rod diroKpLvaaOat, ws" kol sv dXXoc9 (jiavslrai, dXX! dvr avrov tw vTVOKpLvaaOai Ks-^rjTai' (pacrl 8s kol top irapd roL9 hpafJuarLKols vTroKptrrjv ovrco Xsyscrdat, Sid to irpos rbv X^P^^ diroKplvsaOat. The term therefore originated with the intro- duction by Thespis of an actor to take part with the Chorus. THE DRAMATIC UNITIES. 119 ON THE AcSacrKaXiac. " The tripods and tablets commemorative of the Dionysiac conquerors were placed in the Lena^an temple of Bacchus. From these, different authors at various times compiled chrono- logical accounts of the dramatic contests, giving the names of the three first competitors, the titles of their plays, the success of each, and the name of the archon in whose magistracy they were performed. The following extracts from them, preserved in the argimients to the ]Medea of Euripides and the Plutus of Aristophanes, furnish a good specimen : 'ESLSd-^Orj kirl UvOoSco- pov dp-^ovTO^, Kara rrjv oySorjKOcrrTjv s^Sofzrjv ^OXvfjLiTidha' Trpcoros Ev(f)OpLO)V ' SsVTSpOS ^0(f)0KX7]9, TpLT09 EiVpiTrlSTJ^. ^h]SsLa, OtXo- KTTjTrjs, AcKTV9, QspLCTTal ^cLTvpoL, ov a(jo^STai, The concluding words of wliich should be read as follows : Tplros EvpcTrlSi^s ^TjBsta, ^iXoKrrjTT}, Alktvl, ^spicrTals '^arvpots. ov acD^srac, i. e. The Satyric drama was never published. The Plutus of Aristophanes is thus recorded : 'EStSa^^?; sirl ap')(ovTos ^Kvtl- Trdrpou, dirrayo)Vi^o/j.svcov avroj, ^uKo-^dpovs fjusv AdKwcnv ApiaTopLSVOVS hs AhfJby]T(p' ^lko^mvtos Ss 'AScovlBc. AXKatov Ss UacTLcfidrj. Argum. QEd. Tyr. slal Ss /cal ol irporzpov avrov, ov Tvpavvov, £7ruypd<^ovT£s, Bed tov9 ')(povovs roov ScBaorKaXtojv, koI 8cd rd Trpdyfjuara. The principal compilers of Didascaliee were Aristotle, Dic^archus, Callimachus, Eratosthenes, Carystius of Pergamus, and Aristophanes the grammarian. The student who wishes to obtain full information on this subject must con- sult Casaubon on Athenseus, vi. p. 235. ; E. Jonsius, Hist. Script. Philos. i. 16.; Bentley on the-Fragments of CaUimachus, p. 470. ed. Ernesti. Two fragments of marble Didascalia3 were pub- lished at Rome in 1777, by G. A. Oderici, and reviewed in Wyttenbach's Bibl. Crit. II. iii. p. 41."— il/z<5. Crit.n. 89. THE DRAMATIC UNITIES. " The Greek Tragedians have often been extolled for a strict observance of the unities of action, time, and place ; and the modems have been censured for not having studiously followed their example. From this charge the latter have been most ably, and, we think, successfully, vindicated by W. A. Schlegel, in his Lectures on Dramatic Literature. Properly understood, indeed, the first unity is admitted to be of high imj^ortance. It seems essential that there should be a continuity of feeling or interest — a pervading emotion, an object, and a design — wliich, on its development, should leave on the mind a sense of com- I 4 120 THE DRAMATIC UNITIES. pleteness. This appears to be all which can even be explained with intelligibility respecting the unity of action. Those of time and place, in the sense in which they are recommended by their French advocates, were never scrupulously observed by the Greek tragic poets. In the Agamemnon of ^schylus, the watchman appointed by Clytasmnestra sees the signals which announce, by a long series of lights, the fall of Troy ; and shortly after the hero enters, having, since the commencement of the play, performed the voyage from the Troad to Argos. * In the Supplicants of Euripides, an entire expedition is arranged, leaves Athens for Thebes, and obtains a victory after a hardly- contested battle, during a short choral ode, at the close of which a messenger arrives Avith a circumstantial account of the events of the field, v/hich occupies in his relation three times the space allotted to the whole series of occurrences. In the Trachinice of Sophocles, the voyage from Thessaly to Euboea is three times performed during the action. That the events of the play do not oftener occupy a longer time, is probably owing to the stage having never been left empty by a division into acts, but being constantly occupied, during the pauses of the business, by the Chorus. Nor is it true that no change of scene ever took place during the representations of the theatre at Athens. In the Ajax of Sophocles, a removal of the place of action necessarily occurs ; and in the Eumenides of ^schylus it is actually trans- ferred from Delphi to Athens. That this variety also did not more frequently occur, may be traced, rather to necessity than system. The decorations of the Athenian stage were exceed- ingly massive and costly, and could not be removed, during the course of a play, without great delay and confusion. But, for purposes of convenience and effect, the back scene was fre- quently so constructed that it could be opened, and the interior of the palace, or temple, which it represented, could be rendered visible to the spectators. Hence it may be inferred, that other varieties would have been admitted, had they been regarded as possible. It cannot be matter of surprise, that those critics who have so highly extolled the Greek tragedians for these trifles, which they really did not observe, should have overlooked those * " De unitate temporis, quae in nonem redeuntem sistit ; sed inter hac fabula negligitur, quaedam notavi faces Clytaemnestraj visas, et prreco- ad V. 486. ubi Schol. nvh /xefxcpovraL nis reditum, tantum temporis tacitc T(j; TToirjTrj, '6tl ah6T)jxephv Trote? rovs "EA- fingit elapsum, quantum ad trans- Xr\vas r'jKovTas. cf. notata ad V. 645. vectionem classis sufficeret ; et forsan Equidem de hac re paullo alitor quam ob banc causam prolixos interjecerit interpretes. statuerim. Poeta, ut cantus, qui actionem quodammodo mihi quidem videtur, non eadem interrumperent." — Blomf. Prcef. ad nocte et Trojam captam et Agamem- Agam. See MUller, Eum, p. 96. COMIC POETS. 121 high and i:>eculiar beauties which have rendered them immortah" — Encycl. Metrop. STAGE MACHINERY. " It appears that in their devices for effect, they were not at all inferior to the stage macliinists of the present day. They had their slaKVKXrj/jLa, or rolling platform for sea-gods, &c., their fjbri')(avyi or descending machine, on which the deities came down*, their S^soXoyelov, or sky-platform, on which the same heavenly personages talked aloft ; their yspavos or crajie, by which the actors, as occasion required, were borne into the air by means of aXwpau or ropes ; their ')(apoi)Vioi KXlfiaKss or Charon's ladder, which led to hell through the trap-doors, and by which the slhcSka, or ghosts, came up. They had moreover a (BpovTslov, or artificial thundering-machine, consisting of a vessel filled with stones, which was rolled along a sheet of copper ; and their KspavvocTKOTrslov, which flashed lightning." — Mus.Crit, ii. p. 214. SUCCESSFUL POET AND ACTORS CROWNED WITH IVY. V The successful poet was honoured with a crown of ivy. To this Euripides alludes in the prayer with which he concludes his Orestes, Phoenissaj, and Iphigenia in Tam'is : ^O fjLS'ya crSfMvr] ^lktj, tov i/xov BiOTOZ^ KaTS^0t9, Kal fjur) \r) rfj Trpos aX\,7]\ousr. " Originally the trochaic tetrameter was made use of, as better suited to the satyric and saltatorial genius of the poem at that time ; but when the dialogue was formed, nature itself pointed out the proper metre. For the iambic metre is, of all metres, the most colloquial, as appears evidently from this fact, that our common conversation frequently falls into iambic verse." — Tioining, Horace A. P. 79. Hunc socci cepere pedem grandesque cothurni, Alternis aptum sermonibus, et populares Vincentem strepitus, et natum rebus agendis. THEATRE. TlpocTKrjVLOv, Aoyziov, ^OKpl^aSi ^^^cocrrpa or EiKKVK\r)fjLa. " The play of Eumenides was acted in the large stone theatre near the temple of Dionysius. The erection of this theatre was commenced in 01. 70. 1., but the building was not completed till about 01. 100., during the financial administration of Ly- cm'gus. But a theatre might, in the same manner as an ancient temple, or a Gothic church, be used for centuries without being quite completed ; and we certainly have no authority for sup- posing that the productions of the great tragedians still con- tinued to be exhibited in a wooden structure, whilst even the insignificant Epidaurus had obtained from the hands of Poly- cletus, a contemporary of Phidias, a magnificent theatre of stone, " The Athenian Theatre, which was erected at the time above mentioned, and had given rise to scientific investigations by the most distinguished experimental philosophers of the Periclean age, Anaxagoras and Democritus, was no doubt the original model of the Greek Theatre described by Vitruvius. The only peculiarity in the exhibition of the Eumenides was the arrange- ment of the Stage, called by the Greeks UpocrKrjvLov and Aoyslov ; the term TipoaKrjvvov being used to denote the space in front of 124 INSTANCES OF THE 'E/CfCV/ckTjfjia. the crK7]vr}, and the term Xoysiov, or more anciently 'OKpc^as, being applied to the wooden platform raised above the level of the orchestra. " 'E^wcrrpa or sK/cvKXij/jua (the latter expression is much more usual) denotes the platform or small zvooden stage, which, in passages of the Drama Avhere the interior of a house had to be exposed to the spectators' view, was pushed or wheeled forward (ekkvkXzlv) through the great portal in the stone screen (o-Krivr/) at the back of the stage, and afterwards wheeled back (^zIctkv- kXsIv) when the interior had to be again Avithdrawn from view. The following decided instances of the employment of the Ec- cyclema occur in the old Tragedians, and may serve to show in what cases this machinery was applicable. " (1.) In the Agamemnon (v. 1345.) there is suddenly displayed to view (evidently by means of the Eccyclema) the royal bathing apartment, with the silver laver, the corpse enveloped in the fatal garment, and Clytsemnestra, besprinkled with blood, and holding in her hand the reeking weapon, still standing with haughty mien over her murdered victim. *' (2.) In the Choephoroc the same bathing apartment is exhibited to view (v. 967.) Here likewise it is drawn out through the central door in the stage-screen ; and on this occasion the Scho- liasts notice the Eccyclema. Orestes is seen standing over the corpses of Clytaimnestra and ^gisthus, holding in his hands the fatal garment. " (3.) In theElectra of Sophocles (v. 1450.) ^gisthus orders the great gates of the palace to be thrown open, that all the Mycen^eans and Argives may convince themselves with their own eyes of the death of Orestes : a covered corpse is wheeled on the stage on an Eccyclema ; ^gisthus uncovers it : it is Clytaemnestra. " (4.) In the Antigone (1293.) the corpse of Eurydice is ex- hibited on the stage almost immediately after we had been informed of her suicide within the palace. The Chorus notices the Eccyclema in the words : opdv irapeaTiv ov 6poL. 425 Aristophanis 'A^^apveti*. Arg. Acharn. iStSd'x^Or] sttI ^vOvvov dp')(pvTos, £V ArjvaLots' [Anthesterion, or February :] Trpcoros r)v' Ssvrspo? Kparlvo^ X.SL/jLa- ** ^ojjbsvois' rpLTos EyTToXts" ^ovfjir)Viac9. In the sixth year of the Peloponnesian war. 424 89 Aristophanis 'Itttts??. Arg. Equit. iStSdxOv '^o Bpdfia -sTrl ^rparoKksovs dp')(ovTos Brj/jLOcria sh Atj- vaia, hi avTov rod ^ ApicrToc^dvovs. 7rpMro9 svlku' BsvT£po9 }^parLVOs ^arvpois' rpiros ^ Apiarofxsvrjs "TXocfyopois. 423 Aristophanis al rrpwrai ^s^iXai. Cratinus con- quered with the Yivrlvrj, and died soon after his CHRONOLOGY OF THE DRAMA. 129 B. C. 01. victory, a3t. 97. Amcipsias was second with the 422 Aristophanis 'S^cj^fJKSs: and al Bsvrepat ISlscpsXai. 421 Eupolidis MaptKa^ and J^oXa/css. The latter gained the first prize ; the Peace of Aristophanes the second. Ion of Chios was now dead. 420 90 Pherecratis "Aypioc. Eupolidis AvtoXvkos. 416 91 Agathon gains the tragic prize. 415 Xenocles irpcoros OlBlttoSi,, Avkclovl, ^dfc^ac^, ^A6d- fxavn aarvpLKcp. Euripides hzvTspos AXs^dvSpco, HaXa/jL7]8y, Tpwdcn, '^iavc^w crarvpcKM. -<3^1ian. V. H. ii. 8. Archippus, the comic poet, gained his single prize in this Olympiad. 414 Aristoph. ^Afuptdpao^: "OpvtOss. Arg. Avium. II. shihd'y^Orj ettI ^a^pcov ap')(ovTos sis aarv hid KaX- Xicrrpdrov. os rjv Ssvrspos tols "Opvtai' irpoiTos ^A/jLSfxjrLas YLcofJuaarals' rptros ^pvvi')(ps Moz^o- TpOlTW. 413 Hegemonis Tliasii TiyavTo/j.a')(^La. On the day on which news arrived of the defeat in Sicily. Hegemon was contemporary with Cratinus, and w^as the first who introduced parody on the stage. Aristot. Poet. 3. 'Hyijficop, 6 rds TrapcoBias irpoiros iroir)c7as. He was protected by Alcibiades. 412 92 Euripidis 'EXsV^; and Avhpojjisha. 411 Aristophanis Avcnarpdrrj and ^safjbo^opidtpvcrai. 409 Sophoclis ^iXokttJttjs. 408 93 Euripidis 'Opsarrjs. Aristophanis UXovtos d. 407 Strattidis AvOpwiroppalarrjs. Sannyrionis ^avdr], 406 Death of Euripides, in the archonship of Callias, at the age of 75 years. In this year the expense of the dramatic exhibitions was divided between two ')(opri'yoL 405 Death of Sophocles, ^t. 90. Thom. Mag. Vit. Eur. (pacrlv sttI tco dKOvajJiaTL ttjs ^vpiirlhov tsXsvttjs — ^ocpoKXsa avTov jjlsv kol cf^atov ivSshvcrOao ')(iTwva' rovs hs viroKpirds avrov darscpavcoTOVs tw tots slaayaysLV irpos top dyayva' he died before the exhibition of the BdTpa^Gt, consequently before the LencBa?i festival of the year of Callias. That account, therefore, may be suspected, which places the death of Sophocles at the season of a tragic victory. And that which supposes him to have exhibited tragedy after the death of Euripides is equally doubtful: unless we understand this of Guide. K 130 CHRONOLOGY OF THE DRAMA. B.C. Ol. the Acovvaia ra Kar dypovs, in Posideon of the archon Callias. Aristophanis Bdrpa')(OL gained the first prize ; Phry- nichus the second with the Movaac Plato the third with the KXeo(^wz/. lophon, the tragic poet, son of Sophocles, was still living. Antimachus flourished. 404 94 Birth of Antiphanes, the comic poet : began to ex- hibit about B.C. 383., and died, a^t.- 74, B. c. 330. 402 Cephisodotus, or rather Cephisodorus, gains the prize in comedy. He was a poet of the old comedy. 401 Sophoclis OlBiTTovs sttI KoXcovw : exhibited by his grandson Sophocles, the son of Ariston. Telestes gains a dithyrambic prize. 398 95 Astydamas, a tragic writer, first exhibited. Phi- loxenus, Timotheus, and Telestes, dithyrambic poets, flourished. 396 96 Sophocles, the grandson of the former, exhibited in his own person : he gained twelve victories. 394 Strattidis YIordfMtoL. 393 Xenarchus, the mimographus, son of SojDhron, flou- rished at the court of Dionysius, during the Rhegian war. 392 97 Aristophanis 'FiKKXrjatd^ovcraL 391 Plato, the comic poet, exhibited. 388 98 Aristophanis UXovros /3'. It seems that there was now only ojie prize for comedy ; and the ten ')(op7] Atovvcro) kv Hsl- pacsL, /cat 01 /ccofKpSol, koI ol rpayw^ol, /cal y sttI ArjvaiM tto/jLTTt], koI ol rpayojBol, koI ol kcojjlwSoI, Kat Tols sv aarsL Aiovvaiois rj iropbTrri, koX ol iral^ss KoX 6 km/jLOs, fcal ol fccofKpBoli Kol ol rpayaySoL And they are mentioned in the order in which they occurred. 1. ra sv Ustpaisl: (at which Euripides had exhibited: ^lian. Y. H. ii. 13. YlsLpaio^ aycovi^ojjbsvov rov ^vpLirihovi) otherwise ra kot aypovs: in Posideon. 2. tcl Kiqvaia'. otherwise ra hv KlfjivaLs: in Anthesterion. Thuc. ii. 15. 3. TCL sv 'AcTTSi, otherwise ALovvaia rpaywhols KaLvoZs. At this period tlie expense of tragic exliibitions was less than that of the X'^P^^ avSpoov. Dem. Med. p. 565. Tpcuywhols KsxpprjyrjKs ttots ovtos, iyoo Ss avKrjTaLS avSpdaL. 348 108 Heraclides, the comic poet, flourished. 347 Anaxandrides, the comic poet, exhibits. 345 Tragic tetralogicE were still in use. 343 109 Antiphanes still exhibits comedy ; being about sixty- one years of age, and having exhibited about forty years. 342 Birth of Menander, of the ncAV comedy: he lived fifty-one years. 341 Aphareus exhibits tragedy till this year: in twenty- eight years he produced thirty-seven or tliirty-five trao^edies. 340 110 Epigenes, the comic poet, flourished. 337 Lycurgus, the orator, restored the credit of comic exliibitions at the Lenagan festival; and enacted honours for the three great tragic poets. 336 111 Amphis exhibits the l^ovpls. 335 Philippides, the comic poet, flourished : he was one K 2 132 CnRONOLOGY OF THE DRAMA. B. C. 01. of the six who were selected by grammarians as standards of the new comedy. 333 Theodcctes was akeady dead when Alexander visited Phaselis (in the winter of his first campaign in Asia), where he honoured his memory in a parti- cular manner. 332 112 Stephanus, the comic poet, flourished. 330 Philemon began to exhibit comedy, during the reign of Alexander, a little earlier than Menander. He lived to the age of ninety-six or ninety- seven years. Probable death of Antiphanes. 326 113 ^A^rjv, Spdfjua aarvpi/cov, exhibited in the camp of Alexander, on the banks of the Hydaspes, after the revolt of Harpalus. 324 114 Timocles, the comic poet, called by Pollux x. 154. T(ov vscoTspcov TLs, coutinucd to exhibit comedy after this date : since he ridiculed the leading* orators for taking bribes from Harpalus. 321 Menandri 'Opyij: with which he was successful: being in his twenty-first year. Diphilus of Sinope : wrote 100 dramas. Alexidis "liTTros. Alexidis Yivpavvos. Alexis is still livino; in the time of Antig^onus and Demetrius, and in the time of King Ptolemy. Supposed to have lived to the age of 108 years. Anaxippus flourished. Archedicus, the^ comic poet, was contemporary with Demochares, whom he satirised. 301 Philippides, the comic poet, ridiculed the honours paid to Demetrius through the influence of Stra- tocles the demagogue. 299 120 Demetrius, the comic poet, was contemporary with Seleucus, Agathocles, and Lachares. He there- fore belongs to the period of the new comedy. 291 122 Death of Menander : a3t. fifty-two. 289 Posidippus begins to exhibit. 238 124 Sopater of Paplios still continued to exhibit comedy. He flourished more than forty years. 320 115 316 116 312 117 306 118 303 119 302 133 ON PROSODY; OK, THE QUANTITY OF SYLLABLES. A SHORT vowel before two consonants or a double letter, in the same or different words, is generally long. A short vowel before a mute and a liquid may be long or short * : as, jjLSTp-a hs TSV')(S S-soLCTt, TO yap juLs-rpov sarlv apcarov. A vowel is made short before another, but not necessarily, as among the Latins, if the vowel be doubtful : as, iroXvdi^, Long vowels and diphthongs may be short, if the following word begin with a vowel or diphthong : as, a>pr) Ev slaptVTJ, ors II. B. 471. But no hiatus of this nature is admitted by Attic poets in Iambic and Trochaic verse. A long vowel or diphthong, with a vowel following, is some- times shortened in the middle of a word, particularly in dramatic poetry : as, olos^ rolovros, ttolco. A syllable formed by contraction, or crasis, is long : TrdpstfjLL 8' aKcov Soph. Ant. 282. o)9 av ToXoLTTov rdfju dvaKTOp svas^slv. Eur. Tro. 85. The Doric a for tj or ov is long. The ^olic a is short: as, vvjxc^d pdBa : others retain the long vowel of the present : as, tts- irpdya, KSKpaja, Ks/cplya, spplya. ^if^plOa, jxepiVKa, &:c. The third person plural in aai is always long : as, reOvdai : so also the fem. participle in aaa : as, okiadora. The termination aav, in the dative plural of nouns synco2:)ated in the singular, is short : as, dvBpdcn, iraTpdai. Yerbs in aw, preceded by a vowel or p, have the penult, of the future long : as. Jaw, sdaco ; opdco, opdcro) : otherwise short : as, aTrdco, crirdaw ; yskdw, ysXdcra). Verbs in avco have the penult, short: except cKdvo) and Ki')(dvco. ^6dviXtd, 7rpocf>i]Tsid ; exce^^t verbals in rpia : as, ■\jrdXTpLd,iii\d derivatiA^es from adjectives in rjs : as, dX7]0std : also the feminines, WlTjSstd, lipsid^ dyycXleid^ KcoSsid, vdirstd. Words ending in ha : as, ^aacXcvBd, ArjSd ; in 6a : as, '^ip.aiOd, cifcavOd, except i'jXiOd ; in pa not preceded by a diphthong : as. THE QUANTITY OF SYLLABLES. 135 Kapd^ TTypd, %a/9a, (except dyKVpd, 'yscjivpd, oXvpd, KspKvpd :) and those which have a consonant before p: as, dypd, irsTpd, d/csarpd, ^alhpd. All femmiues from adjectives in os : except hid, irorvid^ td, and fjild. Duals in a of the first and second declensions : as M.ouad ; and poetic vocatives : as YiokvhdiJid, AaoSdfid. Av final is short : as, dv, ird/iiTrdv, Trpoirdv, Aldv^ fisXdv, 'TTOLTjadu, sTvyjrdv : except masculines in av : as Tcrdp and Udv ; the neuter adj. irdv; accusatives of the first and second de- clensions (except from short nominatives: as, rpuTrs^av); ad- verbs : as, dydv, Xldv^ irspdv. Ap final is short : as, avrdp, ovdp, vsKrdp, fjbaKdp : except the monosyllables Kdp and '^Irdp. As final is long : as, Alvslds, ifids, M.ovads, rv'y^rds, rdkds ; except in nouns increasing short in the gen. : as, /jLsXds, /jusyds, XafjLirds, asXds ; and accusatives plural of the third declension : as, Ttrdvds, rvirrovrds : also in the second person of aorists and preterites : as, srvylrds, rsrvcfyds, rirvirds. A is long in numerals : as, rpidKoo-ios, &c. It is short in patronymics in aSrjs : as, UrjXrjidBTjy, &c. Also in adv. in a/cts and uKt : as, TroXXd/ctSi TOdadKi. Also in diminutives in ahtov, ukcov, apiov, anov : as, XoTrdSiov, oarpd/ctov, SovXdpiop, Sopdrtov, &c. : except those from long primitives: as, S^copaKcov, oldKcov, Kopdatov, Sic. I is short in the increment of neuter nouns : as, fjusXi, iieXXtos ; and in genitives from nouns in ts, ending in los^ cBos, ltos: except a-xlr/s". Yerbs in to) and ivay are generally long in the penult. : except Tivw and cj^Olvco, which are long in Homer, short in the Attic tragic writers. Patronymics and other nouns in lvt] are generally long : as, ^7]plv7], }Lv7]vlv7], &c., ScoTCPTji d^lvT], &c. : cxccpt slXairlvTi] , and fem. adj. from masculines in Ivos : as, fiypplvi], icshplvrj^ ho,. Also nouns in LTrjs and ms : as, SspalrTjs, fisalrys, fjbaKaplrrjs, 7roXlT7)9, itoXItls, v£ - v> .Cretic or Amphimacer - w - Of four syllables. Proceleusmaticus Dispondeus Diiambus Ditrochffius Choriambus Antispastus Ionic a majore Ionic a minore Pffion primus secundus tertius quartus Epitritus primus secundus tertius quartus \j \j \j \j \j — \j — — w — w — \J \J — yj — — \J — — \J \J vy vy — — ~ \J '^ \J <-< — >-<<-» \J \J — p7]ros (ptXcov. • Of the second Caesura there are many kinds. 1. When it occurs at the end of a word of two or more syl- lables, without elision : 7]KCO VSKpcbv KSvOflCOVa [ KOL (TKOTOV ITVKaS. 2. With elision : iroXkoiV Xoycov avpij/juaO^ \ (oars {irj S^avstv. paest, S. c. Th. 575. o-AktjV t' ^piarov which it would have been otherwise uavTiv^ 'A/Lilcpt^ptoo I ^lav. In iEsch. S. absolutely impossible to adapt to the c. Th. 484. 543. the proper name was verse ; after that Olympiad, even in originally introduced by substituting such as, by a different collocation of a choriambus (->-'w-) in the place the words, might have been brought of the first dipodia. Blomfield has into the verse without the necessity corrected these passages into (fiey') of an anapaest : thus Eur. Hel. 87. 'iTrnofxjSoyros, K. r. A., and {■kcus') Uap- ^eAa/xci;:/- SaAa^ls Z\ irarph 'h ^pe^acrci Oevoiralos^ k. t. A. '> * " To the time of the 89th Olym- ^ piad, the tragedians admitted an ana- — Hermann on Meti-es, p. 34. Seager. pa;st in those proper names only, IAMBIC METRE. 143 3. When the short syllable is an enclitic : Ksivrj yap coKsaiv vtv \ sh Tpolav r' ciyst, 4. When not an enclitic, but a word which cannot begin a sentence : TVfjL^OV Ss ^OvXoL/jLTJV UV \ a^lOV/jLSVOV, 6, When the word refers to what has preceded, but might begin a sentence : sTvel irarrip uvros aos | ov S^prjvsls asl. 6. When, in the same case, the short syllable is formed by • elision : aW OUT SjJLOl KOKOV TOO I SaTiV OUTS (TOL. 7. When there is a pause or break in the sense after the third foot, succeeded by a monosyllable, without elision : aXX ov TroXts" crTir/sty av | tl/jlijctsls vsKpov ; 8. Under the same circumstances, with elision : OTav » > KSVTStTS firj cj^SiSscrO'' I syco \skov Udpiv. yvvat^l TrapOsvois t | airo^siTTOs fisTa. Yerses of the following kind, in wliich the third and fourth feet form whole words, or parts of words, are very rare : ^'IsvsXas, /JLT] I yvcofxas | v7ro\aTr)aas ao^ds. Soph. Aj. 1091. %prjKr)v '7Tspd\aavT£9 [ [loyis | iroXkcp irovw. -^sch. Pers. 515.* The following canon is, however, scrupulously observed : The third and fourth feet must not he included in the same word: there- fore tliis verse is not allowable : ere TOV (36\OLS | VKpOKTVirOCS \ 8va')(^£L/jLSp0V. So also in -^sch. Pers. 507. crToaTos Trspa KpvaTaWoTrrjya Std TTopov : transpose thus : KpvaTaXkoirriya Bed nropov aTpaTos irspd. Verses without Cassura are not unfrequent, where the several feet are contained in separate words; as Soph. GEd. R. 598. TO yap Tv^sXv avTols ciTravT EVTavB* svi. * Porson suggests that the heavi- play affords the following instances of ness of this line is intended to express verses similarly constructed: 256. the labours undergone by the Persian 358. 471. 509. 525. See also Choeph. army : this, as Blomf. remarks, seems 881. Agam. 945. too great a refinement ; for the same 144 IAMBIC METRE There is another kind of Caesura, which Porson denominates the Pause : this regards the division in the fifth foot ; the rule is this : If a senarius end in a word ichicli forms a cretic, and a 2Cord of more than one syllable precede, the fifth foot must he an iambus : or more briefly thus, as given by Ehnsley ; The first syllable of the fifth foot must be short, if it end a inord of two or more syllables : hence the following verse is objectionable : KpuTTTOvra %£tjOa koI 7rp6aco\7rdv Tov[j\iraXiv'. read EjjbirakLV, The rule is the same, when the cretic is resolved into a trochee and a syllable ; or a long syllable and an iambus ; provided the long syllable be an article or a preposition, or any word which belongs more to what follows than what goes before. The exception is, when the second syllable of the fifth foot is a monosyllable incapable of beginning a verse : such as civ, av, 'yap, 8s, Sr}, /jlsv, fMrjv, ovv, together Avith all enclitics, except pro- nouns, when emphatic: \sL\7]9 o'^Ooicn /cpvcpdoj Kal rd^fp ; because kol is a monosyllable capable of beginning a verse. The particle av is of most frequent occurrence in this position, with respect to which it must be observed, that it invariably immediately follows its verb, which always suiFers elision, as Eur. Phoen. 1642: iyo) Bs vaistv a ovk idaat/uL av ^(Oova, Dissyllables, in which the vowel of the second syllable of the . fifth foot is elided, are considered as monosyllables : oirola KLcraos Bpvbs, oircos rijcrS' | s^o/JLac. The following verses are not actual exceptions to the above rule : IAMBIC METRE. 145 sl S' syKparsLS cj^svyovcni', ovBsv Bso ttovsIv. afJL(j)6TSpov a7ro\si<^6sv ycip ovBsv S-drspov. Tjv S' syyv9 sXOrj ^dvaros, ovhsls jBovXarai, S-sol 8' orav Ttfjicjatv, ovBsv Bel (pcXcov. In these instances, ov8^ sh, ovB' sp, ought to be written for ovSsh, ovBsv : this may be inferred from the fact, that the par- ticle av is often inserted between ovB^ and sh. In the time of Aristophanes, or earlier, the Attic writers were in the habit of writing ovhs sh and /ii7jBs sh. Thus also rj/j,Lv and vfitv are to be written for rj/nLv and v/jllv: and the second syllable is to be considered short, as is frequently, if not always, the case in So- phocles : ■)) vovs svsGTLv ovTis vfiLv kyysvrjs ; iras yap Tt9 rjvha tovto y rj/jnv EjJbiropwv. This canon is as applicable to those verses in which the first syllable of the fifth foot is a monosyllable which cannot begin a ^-erse, as to those in which it terminates a w^ord of two or more syllables : hence this verse is wrong : Soph. QEd. C. 115. T/va^ \6yovs ipovcnv; iv yap tw fjuaOslv: read, sv hs rw fiaOslv. It may be laid down as a general rule, that the first syllable of the fifth foot must be short, if followed by the slightest pause or break in the sense ; hence in Soph. CEd. C. 505. for TOVKSiosv a\aov9, co ^sptj, tovo ' rjv os rov, read, tovksWsv aXcros^ w ^ivrj^ t68^' tjv Ss tov.* Thus it appears that there are only thi'ee cases in wliich the fifth foot may be a spondee : 1. When both syllables are contained in the same word. 2. When the first syllable of the fifth foot is a monosyllable which is capable of beginning a verse, and which is not disjoined from the following syllable by any pause in the sense. 3. When the second syllable is a monosyllable, which, by being incapable of beginning a sentence or a verse, is in some measure united to the preceding syllable. * The following lines, which appear Mr. Tate (In the Class. J. No. 45. to violate this canon, are left uncor- p. 167.) contends that these are not rected by Porson : real exceptions, but that from the Hec. 717. w^7s ix\v olv iwix^v, ohl\ short vowel being combined in pro- yhavojxiv. nunciation with the double letter . , , (ov5e7rcrauo,uei', aWaTvff^vcrerai^ Karairaev- Androm. 347. (pevyet rh ravrvs \Ta 7raLS\\o7roL\bv d\\SoTdv. Plia^n. 348. Trim, catal. %ajOti^ a|^«|C)tcr||T02^ fty | S^sovs || 8LSov\cra. 1771. As in Ilor. Od. ii. 18. Vocajtus atj|(pie non | voca||tus au|dit. TROCHAIC METRE. The catalcctic tetrameter trochaic may conveniently be con- sidered as consisting of a cretic, or a first or fourth pi\}on, pre- fixed to a trimeter iambic. Cretic : S^daaov rj fju | sxP^l^' '^pofSaivsiVf iKopLi-jv Sl dcrrsos. 1st pa3on : ws vlv 'iKs\T£vaw fjus aCoo-ai' to ya SiKatov coS' 6%et. 4th picon : iSlbv yj [ kolvov iroXlTais STrKpspcov syKXij/xd tl ; But this trochaic senarius (so to speak) admits no anapaest even in the first place, and must have the penthemimeral ci\3sura. Indeed the break there is as decisive as if the verse were divided into two lines ; so that not only is it inadmissible for a compound word to be broken, but not even an article or a preposition is sufiered to terminate the fourth foot ; thus the following verse is illegitimates TROCHAIC METRE. 147 ravra {jlol I ^ittXT] jXEpifJiv a\<^paaT6s Ecrnv sv (fypsal: rcaclj ravrd /not, ] fxspifxv cic^paaTos \ sanv iv cfypsalv BiirXr}.* The rule respecting the pause is also scrupulously observed : for instance, in Eur. Ilel. 1648. Olirsp /; | BiKr] ksXsvsc /bu' aXV a(^| /crracr^' | i/ciroBcov, Porson reads iK^laraa. Anapiests arc admissible only in the even places. The following is a scale of this metre : f 8. 1. 2. 3. 4. 5. G. 7. —\J — >-» —Kj — <^ — w —\j —\j \J\J\J \j'^-> As the tragic trimeter iambic admits anajia^sts when con- tained in proper names, so the tragic tetrameter trochaic is su})posed to admit dactyls in similar circumstances, and for the same reason, in every foot but the fourth and last. Only two instances, however, are to be found : viz. Eur. Iph. A . 882. sis dp I ''\(^X'yE\veiav 'KX^vrjs voaros r/v irsTrpwfjLsvos : and 1352. iravrss" Kl\Xrivss' (iTpaTos hE\ ^\vpfjblS6\v(oi> ovTOtTrapPjv. Although in iambic verse it is unlawful to divide the anapaests between two words, yet in trochaic Porson does not object to the following lines, in which the dactyl is thus broken : crvyyovov r e\/jL7Ju llv\a\87)v ts top rdSs ^vvSpcovrd /jlol. ov irplv av ^f/j^ro Aam|otcrt iraai Tiiyy Eypapb/XEva. yCKiwv dp^^^wv \\plci\jiX0V te iTEhiov Ep/rfKi'icjas hopos. In fact, if a cretic be taken from the l)eginning, we obtain trochaic senarii of the same description with iambic, in which unnecessary anapaests are admitted, which Porson Seems dis- posed to allow ; such as, dnrtSkop/riv Mez^eXae 'YlvvhdpEws oBs. But as the Edinburgh lleviewer (Elmsley) objects to the latter, so lie does to the former kind of verse; the first instance he thus * The fbllowinn; line of So})lioclcs Hermann considers to be excused by a change of person, the caesura being affected by the pause in the recit- ation : Phil. 1402. N. 61 So/cel, oTcixojjUev. . S) 'yevua7ou clprjicws en-OS. i" " Tiie later tragedy, wliich took its rise about the eighty-ninth Olym- piad, was not only more negligent about rhytbm in general, but immo- L derate also in resolutions, so that it even admitted disyllabic words into a tribrach. Eur. Orest. 73G. Xp^yios' aAA' ofjius rdx^rra | icaKos i(j)\'j}pd6r) (pi\ois. The more ancient did not indulge themselves in this, execjjt in pre- positions, and certain other words closely connected, as did Kaicwu^ 6 Se T0iJ(r5e." — Hermann on Metres, ed. Seager, p. 27. 2 148 TROCHAIC METRE. corrects : lEv^^ovov t s/jl^jv, Tpirov re, k. t. \. cf. Eur. Hipp. 1 004. The third thus : '^ikLcov cip'x^cov to UpLufiov ttsBlov, k. t. X. The thirds Porson remarks, may be read either, Ou, irplv av Bsl^co ys Aavaots, or, Oi), Trplv av Ssl^co AavaiBacSi k. t. X. An inteUigent writer in the ClassicalJournal, No. 45. p. 166., has noticed another nicety in the construction of trochaics : viz. that if the first dipodia be contained in whole words, the second foot must be a trochee : thus, (j^avspos ovtcos | s^sksyx^sh BsiXos Q)9 slrjs (f>vatv is an objectionable verse : so also in Eur. Iph. A. 1340. Tiva Bs (psijysLS | 7ekvov; ^A')(^bXkia rovS* IBslv al(T')(yvo/jbai, we must read, TL Be, tskvov, (j)£vsLa, was first observed by Dr. Bentley.f Whenever a hiatus occurs, the vowel or diphthong must be shortened : as jjuovaa koI t^jjuv, XslnrsToi vficov. The verse is considered most harmonious when each dipodia ends with a word; except in the catalectic verse, where the ending of a dactylic liexameter is preferred. This also some- times admits a dactyl into the first place ; ovk airo/jLovcrop to yvvaucMV. Its final syllable is also common. But in the last place but one, an anapaest alone is allowed. | When the mono- meter or anapaestic base occurs, it generally immediately pre- cedes the paroemiac. These verses are constructed after the following scales : ANAP^STIC DIMETER ACATALECTIC. \j\j— \ \jw — BASIS ANAP^STICA; or, MONOMETER ACATALECTIC. * 111 both kinds of anapasstic verse, dactyls are admitted with much greater moderation into the second than into the first place of the di- podia : in Soph. CEd. C. 1766. TaDx' ovv e/fAue Zai^Mv 7j/x^r, Elmsley reads t/cAuer. •f The same law is observed in dimeter iambics, dimeter trochaics, dimeter cretics, and dactylic tetra- meters. X A few exceptions occur : as in Jtf^sch. Pers. 32., Agam. 374., Suppl. 8. 'Lrivoou T i\ari]p \ 'S,'^ov S vLKrjosTS TTjvhL In the three first places, besides an anapaest and sj)ondee, a dactyl is used; so also in the fifth, but not in the fourth or sixth. Cassuras are accurately observed, subject to the same re- strictions as in the tragic trochaic ; even so far, that it must not take place after a preposition or an article. The proceleusmatic is excluded. A dactyl immediately before an anap^st is unlaw- ful ; so also when prefixed to an Ionic a minore (^ v — ) in the end of a verse, as in these examples ; Arist. Plut. 510. Et 'ydp 6 TiXomos /SXi^lrsts ttoXiv, htavsljjiSis T laov kavTOV : read, SLavsL/jusLsv t caov avrov. Av. 491. (TKVTris, /3a\avrJ9, d\(f)LTa/uLOi^ol, TopvsvTaain- SoXvpoTrrjyoL : read, TopvavToXvpaairihoiri^'^oL The rule of making each dipodia end with a w^ord is sometimes violated ; yet in this case, supposing the second foot a dactyl, and the third a spondee, the last syllable of the dactyl cannot com- mence a word whose quantity is either an iambus or bacchius (v^ - -). Hence in Aristoph. Eccl. 518. 'Bvfi^ovXoLcny dirdaais v/jili', K. T. X., Brunk reads, 'BtVfjb/SovXoLcnv irdaais v/jlIv, k. t. X. The most frequent license is that in which a long vowel or a diphthong is shortened before a vowel; as, Aristoph. Plut. 528. ovT sv hdiriaiv' Ti9 yap v<^alv£iv iOsXrjasc, '^pvalov ovros. But Aristophanes rarely lengthens a vowel before a mute and a liquid, except when he introduces a passage from Homer or other authors ; or in the case of a proper name. Thus in Nub. 402. Kal ^ovviov aKpov 'Adrjvscov, and Yesp. 652. 'Ardp, &> Trdrsp rj/jcsrsps KpoviSr) — the words of Homer are cited. iDACTYLiC METRE. In this species 07ie foot constitutes a metre. Monom. hypercat. OiSt7ro||Sa. Dim. cat. on ttvo si/llables, called Adonms, or Adonic : rotas' 6/jLb\\(f)(i)vbv. ^sch. Ag. 166. This is used in concluding the Sapphic stanza in Horace Hisit Apollo, 154 DACTYLIC METRE. Dim. acat. tZs 8 zTrlWrvfji^los'. ov helcF\\rjvopa: rdvhs 'yv\\valKwv, Trim, catal. on one syllable: ^ApTsiJii\\hds T£ ^s\\ds. Hec. 462. Tap Zsv9 11 dijL(f)C7rv\\pa>. 471. Hor. Od. iv. 7. arbori|busque cojma). Trim, catal. on tivo syllables : TToWd tydp II coctt' dKd\\iJidvTos ?7 NoToi) II 77 B6/3£[ja tIs svpsL II KVfJbdTa 1 1 irovTM. Soph. Trach. Trim. acat. Zsv^o/jial \\ dp/ndrc \\ ircoXovs. Hec. 467. Tetram. catal. 07i one syllable : co 7r6Xv\\K\avTs (j)i\\\olcrL Sd\\vcov, ^sch. Pers. 680. Tetram. acat. virv' bBv\\vd9 aBd\\rjs, vttvs || S' dX b9 OlBi7r6\\Sd So/jLov II coXEas || KpdvOsls alfjudrl 1 1 hslvcp || aljidrl || \vypw. Eur. Phoen. 1510. Sometimes a verse of a different sort is subjoined to a dactylic system: d(f)6Lrbv \\ d/cd/jbd\\Tdv d7ro\Tpv5rat, o\XbfM£\\vQ)V dpbWrpcov srb^ || el9 STb9>, l7r7r£l\QJ yelvsl 7rb\\£vd)v. Soph. Antig. 338. See also CEd.' C. 228—236., JEsch. Pers. 863. The following are instances of the dactylic tetrameter in Horace : Certus e|nim pro|misit A| polio. Menso|rem cohi|bent Ar|chyta. Tetram. hypercat. ovS* vrrrb \\ 7rdp6£Vi\\d9 rbv v\\7rb ^£^d^pols. Eur. Phocn. 1501. Pentam. acat. vdaol r^' || at KaTaWirpoov akX\\bv irhplWKKvaTol, ^sch. Pers. 883. Hexam. acat. : irpos &£ 'yhWveldhbs, \\ w cf)t\b9f || ft) So/c? [ [/^coTaros' || KXXdBlf avTOfiai, II d/jLcpLTrllfrvovad rb || aov ybyi) || koL %£/?«- jj Ssl- \aldv. Eur. Suppl. 277. 288. See Soph. El. 134. 150. ftT/Se To'll TTdp6£vl\\bv irrhpov || ovp£l\dv rhpds || aXOslv. Eur. Phoen. 819. DACTYLIC METKE. 155 The Dactylic Hexameter Is the metre of Homer and the other epic poets ; also called Heroic, from the heroes celebrated in their poems. The first four feet are dactyls and spondees ; the fifth generally a dactyl, the sixth always a spondee, the last syllable being considered common. In the fifth foot a spondee is some- times admitted, in which case the verse is termed Spondaic : as in II. E. 115. KXvdi jj^ot, Kl'yi6')(0L0 Atos* TSKOS, I dTpv\T(ovri. In Bucolic or Pastoral hexameters, the verses of most frequent occurrence are those in Avhich the fourth foot is a dactyl ending a word: as Theocr. Idyll, i. 15 — 18. ov S^s/uii9f CO iroLjJLav, to /J.sa\d/ui^plv6v, [ ov S^sfiLS aixfitv avpiaBsv Tov Udva 8E\Sol/cd/Liss' | y yap air aypas TavLKa KSK/JLaKcbs dfx\'TraveTat' | svtI hs TTLKpbs, Kal 01 dsl SpijjiSLa %o|A,a ttotI | ptvl KaOjjraL The Greek Elegiac Pentameter is similar to the Latin, but admits a trisyllabic word at the end : as SvfjLOP aTTOirVSLOVT I aKKifJLOV £V KOViy. It has been once used in tragedy, viz. in Eur. Andr. 103. sqq. Logaoedicus. — This appellation is given to verses which com- mence with dactyls and end in trochees ; and is given to them, as Hermann remarks, because they appear to hold a middle station between song and common speech. fjbrjTs ird^Tpcpov 1\\koIt ss | oIkov. Hec. 938. also called Alcaiciis. £KT07rl\\os av\6sls o I irdvTwv. Soph. CEd. C. 119. See^sch. Prom. 138. 157. 173. 193. TjaOd <^v\^TakiJit\os hvo\alwv. OEd. C. 151. ft3 iToXts, I CO 7Si^f||a ra^^alvd' | vvv as fjbolpd Kd6\diJbhpl\\d ^9l\vd, (f)6l\vsl. Electr. 1413. 1414. sXO^ sirl I Kovpov s\\iJiol9 ^l\k,olal | irdvrws. Eur. Or. 1293. This kind of verse frequently occurs in the tragedians : hrj^idvjjbov spwTos avOos. ^Esch. Ag. 720. t}C "AttoWov. ^sch. S. c. Th. 141. 147. Antisp. dim. brachycat. sfjLol XPV^ ^v/j\\(f)bpdy. Hec. 627. dim. acat. Ayalcov Bs \\ TrXdrds vaval- ITOpOVS 7]/jLL\\USC0V, OVS S- irl Tpoldv s\\\dTal9 ')(pCL\ovavalv. Em'. Iph. A. 168.t * So also Theocritus, who employs would be more correctly included in this metre in the twenty-eighth Idyl- the same line, antispastic heptameter lium. catalectic, if it were possible for the -f- " I would have the reader observe page to admit one of such enormous that this and the two following verses length." — Cambridge editor. run on in continuous numbers, and Guide. M 162 DOCHMIAC VERSES. dim. hypercat. s/jloI XPV^ '^V \\ M'Ovdv ysvE\(76dl. Eur. Hec. 628. ^sch. Pers. 135. 142. Tokalv ovKS^l cr' siJi^dTSv\\aw. Hec. 901. trim, bracliycat. rdXalval Td\\\alval Kopal || ^pvywv. 1046. trim, catal. or hendecasyllable : dOvpaol S' ol\\d vlv hpafidv^Th ^aKyal. Eur. Or. 1502. " Euripides appears to have used a trimeter in the Here. Fur. 919. followed by a verse composed of two dochmii : Xe-ye, rlvd rpoTTOv | scrvrb S-sbOsv | sttI fisXaOpd kcl- K,d rdSs, Tkrjfiovds | ts Tralhoov ri'p^as'." — Herm. OF DOCHMIAC VERSES. A dochmuis consists of an antispast and a long syllable (w — v^-) : therefore a simple dochmiac is the same as an antis- pastic monom. hypercat. Sswv rj Ssdv. According to Hermann, there are forty-eight varieties. A pure dimeter dochmiac is not of frequent occurrence : the fourth of the following lines is one : dXl/ubsvbv TiL9 C09 \\ £9 dvTKov ITSCrOtJV \s')(plb9, E/CTTScrfj 1 1 (ptXds Kaphlds dfjbspads /Slbv || rb , alklvov ^dp')(dv ^dvdrov. dact. dim. + anap. monom. 824. rj [jbdrpoKTOvov \\ alfid xslpl SsaOal. dact. dim. + troch. ithyphallic. Hec. 915. sTTiSsfivtov 009 \\ 7rs(7ol/.i £9 svvdv. anap. monom. + iamb, penth. Or. 960. cFTpdrirfKdTwv || YjXKdhbs iror ovrcov. iamb, monom. + troch. ithyph. See ^^sch. Ag. 185. Phcen. 1033. i/Q^s", s^ds, j| a> irTspovaad yds Xbysvijud. iamb. monom. + troch. dim. Hec. 1083. aWsp dixirrd^fjisvos ovpdvlov. troch. monom. + anap. monom. ANALYSIS OF METKES IN CHORUSES. 165 Plioen. 1525. rj rajv irapolOsv || svysvsTav srspos. iamb, penth. + dact. penth. J called also iambelegus. Soph. Aj. 178. 894. The following are instances of asjnartete verses from Horace : Od. i. 4. Solvitur acris hyems grata vice || veris et Favoni: of which the first part is a dactylic tetrameter, the last a trochaic dimeter brachycatalectic. Epode xi. Scribere versiculos || amore perculsum gravi: dact. trim. cat. + iamb. dim. In these verses the final syllable of the dactylic part is common, and eUsion is sometimes neglected ; V. 6. Inachia fm^ere || silvis, &c. 10. Arguit, et latere l| petitus, &c. 14. Fervidiore mer5 |] arcana, &c. 24. Yincere mollitia, || amor, &c. Epode 13. Occasionem de die: || dumque virent genua: Iamb. dim. + dact. trim. cat. the reverse of the former metre : the same license also occm's in this: V. 10. Levare diris pectora || sollicitudinibus. Archilochus is said to have been the inventor of asynartete verses. I ANALYSIS OF METKES IN CHOEUSES. SOPH. ANTIG. 332. crrpotpr] a. TToWa Ttt S€i\ua.^ KOvB^v av Qpdynov | deiuorepou \ TreAet. TOVTO I Koi TToKlOV | TTepOJ/ TTOVTOV I X^'/^fP'V ! ''OTf^ X^P^h Tr€\pi§pvx'-oi\v apo\Tpu:v eros \ els eros, t7r7ret|cfj yeuei Trokevuv. * The distinction adopted by W un- der is here retained. A Glyconeiis is of this form: ^^-^j- : a Gly- covicus resembles it in the introduc- ]SI chor. et dip. iamb. glyconeus. idem. idem. glvconicus. * dim. iamb, brachyc. dim. iamb, hyperc. tetram. dact. idem. [phallic. trochaeus semantus y et ithy- tion of the choriambus, but is either longer or shorter. •\ A technical term for a spondee introduced in place of a trochee. 3 166 ANALYSIS OF METRES auTKTTp. a.* KOV(pov6wp re }V^ iraXicravTov | ^pdi.LT]jxa voi\ri:v aarpaTrav Kpd\TT] u^fj-cov Trarep, uJTrb a^ ^Oiaov |/cepaui/(p. avTiarp. y' . AvK€L ava^^ to re era Xpvo'oarpocpwv a-jv ayKvXwv iSe'Aea ^iXoijx Uv add/xaT ivZareiffQaL apcoyd Trpoaradevra.) rds re TTVp(p6povs 'Apre'^uiSos a'iyXas, ^vu als AvKi opea Ziaaaci' * It may be scanned as a trimeter iambic, with an anapaest in the oth place. M dim. iamb. metr. dub. * adonius. tetram. dact. tetram. dact. cat. cum anacr. monom. iamb. anap. dim. cat. iamb, monom. hjrpercat. anap. dim. cat. tetram. dact. dim. iamb cat. dim. iamb, brach. dim. iamb. trim. iamb, catal. trim. iamb. dip. iamb, et cretic. dim. troch. brachyc. trim. dact. cum anacr. dim. troch. brachyc. dim. iamb. dim. troch. catal. epitrit. troch. monom. hyperc. trim. iamb, catal. t Steov must be scanned as on 3 syllable ; compare the antistrophe : so ^(6u in the last line of the chorus. 4 168 ANALYSIS OF METRES racd' iTTUvv/xov yas^ olvS}Tva BcLKXov ei/ioj/, MaipdSwv 6fx6a'To\ov, TreKacrdrivai (pKeyovr' ayAawTTL avv CEDIP. TYR. 464. (^eperat, Kpicris ovK ecTTiu aArjdijs' (Tocpia S' &v (Tocpiav irapa/JLeirpeiev avi^p' aW' ovTzoT eywy' ^j/, Trpij/ 'CSoLfx opdhu cttoj, /ue/i- (po/xevuv hu Kara(pair]u. (pav€pa, TTTepdecrcr' ^A0€ K(^pa TTore, /cal ffocphs HcpOr], ^aadvcfi 3-' 7J5u7roAts* T^ ott' e/xas (ppevhs ovnor 6((>\ricrei KaKiav. (EDIP. TYR. 856. OTpocpi] o. E3f /tot lu^e/l?? (pepovTi fxo7pa rav (v\(reTrTov a'yve'L\av Ac^ycoj/* epyuv T6 Trdu^Toov, uv vojxoi | Trp6Keiprai u\|/i7ro5es, | ovpaviau j 5i' aldepa TeKi/a)0eV|Tes, wz/ "OXv/jlttos ■jra\Tj]p /bLouoSf ov\S4 viv ^va\ra }V. ffrpo(p)} $\ et Se Tis u7rep|o7rTa x^pc^'' T^ \6y(y Tro\peveTaL Ai|«:as a({)6§7)\Tos, ovSe Sai/jLouwu ejSTj creSoou^ Ka\Kd viv %\oi\ro fxolpa^ SvairST/jLOv x<^|p"' X^^^^^f et /U7J rb Kep|5os KepSai/e? | St/caiws, /cat Twv a.(Teir\TO}V eplerat, 1^ T«J/ d0i/c|TCDV e'lerai | fxard^wv' monom. iamb, etmonom.troch. trim, troch. cat. trim. iamb. cat. prosodiacus. duo penthem. iamb. glyconicus. idem. monom. iamb, hyperc. dim. chor. cum spondeo. ion. a min. cum chor. et epitr. dim. troch. dim. troch. cat. chor. cum anacr. dim. troch. cat. chor. cum anacr. dim. troch. cat. trim. iamb. cat. dim. iamb, trim. iamb. cat. Hermann considers this and the following line to consist of epitrites. 170 ANALYSIS OF METRES IN CHORUSES. ris exi ttot' eV | roTaS'' auTjp ^vfj.ov ^iXr) ei/|eTai i|/y|x«s a/nvueLu ; €i yap al T0/|at5e irpd^eis | rl/niaii avTi(rrpoor|^e, (Tol 8 6 ravr' dp^ar' | etTj. dvTKTTpocpri. ris tre, TCKVOJ/, t^s o"' eriKre Twv fxaKpaiuovoou &pa, Tlavhs opiffdL^dTa irov TrpoaTre\a(T6e?(r\ r) ere ye ris ^vydrrip^ Ao^iov ; rw ' ydp TrXdKes dypovojuoi iracrai (piXai' eW 6 KvWdvas dudcrcrcou, eW^ 6 BaKX^^os ^ehs val- uv iir' aKpccu opeoou, ei;- prj/xa Se^ar' e/c rov Nvfj.(pav 'E\iKoou'iScou, aTs TrAetCTO crvixiroA^ei. chor. et dip. troch. dim. troch. cat. trim. dact. dim. troch. cat. monom. iamb, etmonom.troch. trim. dact. et cretic. dim. troch. idem. trim. dact. cat, ithyphall. glycon. cat. iamb. dim. brachycat. In this line a choriambus answers to the iambic dipodia in the strophe. ON THE SYNAPHEIA IN ANAP^STIC VEKSE. 171 ON THE SYNAPHEIA IN ANAPAESTIC VERSE. FROM BENTLEY'S DISSERTATION ON PHALARIS. In my Latin Dissertation upon Johannes Antiochenus* , I had started a new observation about the measures of the Ana- 23£estic Verse. All the moderns before had supposed that the last syllable of every verse was common, as well in anapaests as they are known to be in hexameters and others ; so that, in poems of their own composing, the last foot of their anapaests was very frequently a tribrachys, or a trochee, or a cretic ; or the foot ended in a vowel or an m, while the next verse began with a vowel or an h. In every one of which cases an error was committed; because there was no license allowed by the ancients to the last syllable of anapaests ; but the anapaest feet run on to the paroemiac, that is, to the end of the set, as if the whole had been a single verse. This, I said, was a general rule among the Greek poets ; and even Seneca, the Latin tra- gedian (to show he was conscious of this rule that I have now discovered,) never ends an anapaestic verse Avith a cretic, as Buchanan, Scaliger, Grotius, &c. usually do ; though some- times, indeed, he does it with a trochee, but even that very sel- dom t, and generally at the close of a sentence. Even envy it- self will be forced to allow, that this discovery of mine, if it be true, is no inconsiderable one. I am sure had any man found it out before Buchanan and the rest had published their poems, he would have had their hearty thanks for preventing those flaws in them. But see the hard fate of discoverers ! At last the learned Mr. Boyle arises, and roundly tells the world, which had believed me for eight or nine years. That nothing can be falser and fuller of mistake than what I have there asserted. " How durst you oppose, says he, men of Grotius' and Scaliger^s character with such groundless assertions? For it is usual among the Greek tragedians to end their anapcEsts with a trochee or a tribrach ; and Seneca has done it at least forty or fifty times, lohere there is no close of the sensed The instances he gives are five out of ^schylus, and as many out of Seneca. The first from ^schylus is, (I.) T^z^ Atos" avXTjv slaoL')(V£vai,^ Aia rrjv \lav — Prom, v. 122. * Dissert, ad Job. Antioch. p. 26. ed. 1691. I Semel atqiie iterum. 172 ON THE SYNAPHEIA And the IV. like it, Tbv 8s ')(aXivols kv TrsrplvonjL Xsc/jba^6jjL6vov — V. 565. [= 571. ed. Blom,'] These two verses, as our Examiner imagines, are ended with trochees, the last syllable being short. Now, methinks, a man of half the learning of Mr. Boyle might have known that cro may be long here, by adding v to it before a consonant, as poets frequently do ; slaofxysucnv, irsTpLvotatv. Tliis very fable, that Mr. B. quotes, might have taught it him ; 'E7raot8atcrt S^iX^Si arspsds. v. 173. [ = 180. ed. Blom.'] Or that verse in SuppUc, 'Ofju/Spo^opocal r' avsfJLOis ayplas. v. 36. Or these of Ai*istophan., 'AXcrl Sta(T/ji7]')(^9sl9 ovacT^ av ovroaL Nub. [v. 1218. ed. Bekk.~\ 'Jar/DOS' cbv kol ^dvTLs, cos acn, cro^os. Plut. [v. 11. ed. Bekk.~\ In all which places, and a hundred more that it's easy to allege, the syllable cru is long, as if it was pronounced sTraoihalcnVi ojJbppo^opoLcnv.) aXalv^ and (j)aaLV. And these examples are all found in the middle of verses, lest the Examiner should make any exceptions if they were in the end of anapaests. (III.) But he may have better success with the next pas- n sage that he produces from ^schylus : Ety dp6fjLov s/jLoI Kol ^ikorrjra ^7rsv8o)v — Prom. v. 191. [ = 199. ed. Blom.~\ Here, too, he supposes the last foot is a trochee, because ra is a short syllable. But I must tell the learned Examiner, that ra in this place is long, because the next word ctttsiiScov begins with two consonants. There's nothing more common among the poets than this ; as I will show him out of his own author, -^schylus, and that in the middle of anaj)gestic verses : Ylrj/xa arzvdyco. tttj ttots ijl6')(6o3v. Prom. v. 99. Vivos ^Xiaarz irpvfjLVoOsv avOts. Sept. c.Theb. 1064. [=1059. ed. Blom.'\ Ovs irspi Trdcra ')(6ol>v ^AatrJTLs. Pers. 61. 'AWa ')(66vLot SalfjLovss dyvoL Id. 630. [ = 634. ed. Blom.~\ IN ANAPJESTIC VERSE. 173 Have not irrffjua^ a)\£crlainly proves, against me, that the last syllable is common. But we must correct it KpaLirvoavrov, with a single a, and then it is an anapaest. The poets use either the single or double consonant, as their measures require. Hesychius, Avro- (TVTOS, aVT0KsXsV<7T09} ^0(l:0Kkrj9 ^KvploLS. 2. ^schyl. Eumen. v. 1008. IT/DOS' (jiws Ispov rcovBs TrpoTrofJiirov "It2, Kal acpajLcov rcovS" vtto crsfivcov Kara 7^5- avfjbsvai, to fisv drypiov l^copas Kars^stv. — The first verse here ends with a trochee, and the third with a cretic; both of which are seeming instances against my asser- tion. But in the first verse we must read irpoTro/jLTrayv, as the learned Mr. Stanley guessed from the sense of the place ; and his conjecture is now confirmed by the measure of it. And in the third verse, for drrjpLov I correct it drrjpov, which is a word of the same signification, and of more frequent use than the other : witness ^schylus himself; Ava')(^£L/jL£p6v js TTsXayos drTjpd^ Bvrjs. Prometh. 74:5. [=771. ed. Blom.'] 3. Soph. Elect V. 112. Tov9 dSiKcos ^vi^cFKovras opdrs. Here ascain is a cretic in the close of the first verse ; but it will be a dactyl if the second verse be read, as it ought to be, with- out T0V9; ^ABiKcos ^vrjCTKOvras opdrs. 'Tis the versus paroemiacus, which always comes at the end of a set of anapaestics ; and there the trochee in opdrs is right and lawful. 4. Soph. Antig. v. 129. [ = 128. ed. Erf.'] Trrsps'^^Oalpsi' koI a(^ds slaiBcov. This cretic foot, slaihcov, is an error of the copier, instead of the anapaest, satBcov. 5. Soph. Philoct. in fine. l^copco/jLSv vvv rrdvrss doXkhs, ^vfJL(^ais akiaicnv sTrsv^d/isvot. IN ANAPiESTIC VERSE. 177 This cretic too will become a spondee by the easy and slight alteration of doWhs into doWsh. which is the true readinsr. 6. Eurip. 3Iedea, v. 1087. [ = 1083. ed. For.'} Uavpov Br) ysvo9 iv iroXXalaiV vpoi9 av i(j(os. — Here's a trochee in the end of a verse; but if we correct it TToXXaccTiv 7', it will then be a spondee, as it ought to be. 7. Ibid. Y.llOS. 1 = 1099. ed. For.'] "Etc S' sk tovtcov, slt sttI d)Xavpoi9, Etr sTTi '^pijaroL^ iJLO')(6ovcn, toSs "EiCTTCv dhrfkov. The middle verse here, as it is vulgarly read, is an instance against me ; but the measures ought to be altered and distin- guished thus, EV 5 5 \ r, LT STTI J^pTJCFTOlS ^o^OovcTLf ToBi' scFTLV dSrjXov. Where the last verse now is a paroemiac ; and the little verse called the anapcestic basis commonly comes before it. 8. Ibid. V. 1405. [=1402. ed. For.'] Zsv, rdh^ aKovscs, o)s d'rrsKavv6[Msa6\ This cretic in the close is easily cured by reading dirikav- vo\xzQ\ 9. Ibid. V. 1413. [ = 1410. ed. Por.] Ou^ pi/T] TTOT ijQ) <^vaas M will substitute an anapaest in the place of the cretic. 12. Aristoph. Nub. p. 106. [=v. 908. ed, Bekk.'] VvwaOi^crr) ttot' ^AdrjvaloccrcVf Ola Bc8d(TK£i9 row dvorjrovs. If we add 7' to the end of the first verse, this little flaw will be healed. These, I believe, are all the verses in the four poets of the Greek stage that are exceptions to my observation about the measure of anapa3sts ; or, if perhaps I have overlooked one, I dare engage before-hand that it may as easily be corrected as these that I have noted. But if the Examiner thinks fit to cast his eye again to search for more, that he thinks may have escaped me, I would advise him to take care that his instances be not of the same stamp with those he has brought already. For it's good to understand a matter first, before we pretend to confute it. As for Seneca, among all the plays that judicious persons sup- pose to be his, I have not once observed a tribrachys, nor a cretic, at the end of an anapaestic : nor have I met with a trochee without a pause or close of the sense after it, except in these two places : Here. Fur. v. 170. Fluctuque magis mobile vulgus Aura tumidum tolHt inani. Medea, v. 334. [3:344. ed. Schrod.'] Spargeret astra Nubesque ipsas. These two, I believe, are the only examples : and had I not reason then to say, that semel atque iterum, once or twice only, he made use of a trochee ? 'Tis true, there may be an instance or two Avhere a verse ends in a long vowel and the following begins with another vowel ; as, Thyest. V. 946. [ = 948. ed. Schrod.'] Pingui madidus crinis amomo Inter subitos stetit horrores. But in this case the measure is right, and agreeable to our ob- METRICAL CANONS. 179 sei-vation ; only the vowels must be supposed to stand and to be l^ronounced without a synaloepha ; as they often are in Virgil ; Glauco, et PanopeiJe, et Inoo Melicertai. Georg. i. 437. Nereid um matri, et Xeptuno ^g^eo. j^n. iii. 74. Cir, 474. Upon the whole, then, there is not one true and lawful excep- tion in all the Greek poets ; and but tico in the genuine pieces of Seneca. But the writers that came after him degenerated more from their Greek masters, and did not so strictly observe the measm-es that the rules of their art prescribed to them. For in the tragedy Agamemnon this measure is four times broken * ; and in Hercules (Et(Rus six times f; and in Octavia no less than eleven.! Wliich may pass for a new argument that Seneca is not the author of them. But, if one cast his eyes upon Bu- chanan's pieces, or Scaliger's, or Grotius's, or indeed of any one of the moderns (for none were aware of this observation), he will not find ten lines together where this measure is not violated. Which 1 take for an infallible demonstration, that it was design, and not mere accident, that kept the ancients from breaking it. METEICAL CAXOXS. FROM ELMSLEY'S REVIEW OF HERMANN'S SURPLICES. Classical Journal, vol. viii. p. 426. V. 296. Klay_p6v y tks^as, %/o^ 7)Bov7]s dysis. This consider- ation of the elision, however, would have supplied them with a better reason for retaining the common reading, than that which they have given. We now proceed to mention, that this canon is much more strictly obsen^ed by Euripides than by ^schylus and Sophocles. The character which Euripides generally bears, of being the most careless and licentious in his versification of the three tragic poets, is not just in every respect. In Mr. Porson's note on v. 298. of the Hecuba, another metrical canon is men- tioned, which, although it is entirely disregarded by ^schylus and Sophocles, is very seldom violated by Euripides and the comic poets. We suspect that the canon which is the subject of the present note is frequently violated by Euripides in the lyric parts of his plays. The following instances have occurred to us without any regular examination of those parts. Or. 964. 2t5a- pov sirl Kdpa | TiOsla-a Kovpcfj^ov. (The true reading is fcdpa, not Kdpa ; and the construction is Kdpa KovpifioVy not crlBapov /covpt- /jLov.) Supj:*. 379. Xv roc crs^scs SUav, | to S' rjcrcrov dBiKLa. Tro. 1312. 'lo) Up LafLS, Upla/bLS, | av /xsv yap 6x6p,spos, '"Aracjios, d(f)tXos, dras \ s/uuds d'iaros si. Ibid. 1320. Kovts" B' caa fcdirvco \ TTTspvyt Trpos aid spa. EL 1195. Tls svcrs(3iis e/jlov \ Kapa Karoyjrsrai,. Passing over verses of this kind, which were in- tended to be sung to the lyre, Ave will confine ourselves to those Avhich were intended to be recited to the flute. We do not believe that the remaining plays of Euripides, including the Cyclops and the Rhesus, contain twenty verses of this kind Avliich really violate our canon. We have observed, indeed, nearly tAvice that number of apparent instances, but most of METRICAL CANONS. 183 them are either manifestly corrupt, or manifestly spurious. — I. II. III. IV. Ale. 303. AiKaca S\ q)$ tkov. V. 635. 'E^ft) 8s ^ovXojJLai | rd ad arspv, o) Trdrsp. These two verses, with two others in the same passage, are rejected as spurious by Mr. Porson. — XVII. Ibid. 665. Et'y ravTov, M S^vyarsp, \ av S-^ i]KSi9 am iraTpL Mr. Porson reads, 'X2 ^vyarsp, rjicsis Kal av y sis ravrov rrarpL — XVIII. Ibid. 1022. KaXcos" hs KpavOsvrcov, \ rrpos rj^ovrfv ^iXois, ^ol r dv ysvoiro, Kav ejjuov '^copls, rdSs. — XIX. Ibid. 1243. "Oijlws 8s avv 8dfcpvaLv I tKsrr)9 ylvov irarpos. The manuscripts read, "O/xcds' 8s avv8dKpvaov, Usrsvaov irarpos. This reading, although not satisfactory in all respects, removes our objection to the common reading. — XX. XXI. Ibid. 1578. 'Ispsvs 8sj <^dayavov \ Xa^oov, sTTSV^aro. V. 1593. YipovOrjKS /3o)fiiav | sXa(pop opsiBpofiov. These two verses occur in the spurious conclusion of the tragedy. — XXII. Phes. 85. Kal /jljjv oS' Alvstas \ fidXa arovBfj 7ro86s. So Barnes. All the j^receding editions insert Kal before jjudXa. Read with Musgrave, Kat /x^v o3' Alvsas Kal jxdXa airovBy N 4 184 METRICAL CANONS. TToSoy. Alvsa9 is a word of two syllables, as in vv. 90. 585. — • XXIII. Tro. 1147. 'H/xsts* fxev ovv^ orav | aij Koafirjays vstcpov. We consider this verse, in which the pronoun precedes the verb, as more licentious than the four first in our collection, in which the verb precedes the pronoun. — XXIV. Ibid. 1185. I^v h' ovk sfjb, aXX sydi | as rov vsoorspov, Vpav9 airokis^ drsKvos, aOXiov S^aTTTco vsKpov. The reading of all the editions prior to that of Musgrave, aXX syco as, preserves the rhythm, but seems to injure the sense. — XXV. Ibid. 1280. Aov\a9. codSsoL \ rl tovs ^sovs KoXSi ; Mr. Burges reads from the Harleian manuscript, AouXas", la> S-soL koL rl rovs Ssom koXco; — XXVI. Bacch. 960. Movos" yap slfju ckjtmv [ avrjp ToXfjbodv rdBs. Read, Mezzos' yap daTMV sI/jL dvrjpf roXficov rdBs. So Aristoph. Lys. 145. '12 <^tX- rdrr] av, Kal fjuovrj toutcop yvvrj. — XXVII. Ibid. 1028. Tt 8' scrrcv; sK^aK^wv | rl (rl Ald.^ fiTjuvst^ vsov ; The true reading is Tt, ecquid. Compare Hippol. 857. — XXVIII. Cycl. 7. 'Ey/ce- XaSov iTsav \ fjusarjv S^svoov Bo pi. So this verse ought to be repre- sented. As it occurs in a satyric drama, it is not subject to our authority. — XXIX. Hel. 85. ""ATap tIs si; Trodav; \ rlvos; i^avBdv as XPV' ^^^' Borson (Adversar. p. 269.) reads, ^Ardp tIs £t; TToOsv; tIvos t' ; avBdv as XPV- Mr. Elmsley (^ad (Ed. Tyr. 329.) reads, ^Ardp tIs £l\ tfoOsp; rd a s^avBdv as XP^' Neither emendation corrects the fault, on account of which we produce this verse. — XXX. Ibid. 1225. OiKTpoTarov, vypolat, (vypolauv) | kKvBwvIols d\6s. Bead with Scaliger, OiKrpoTarov, vypots sv kXvBcdvlols dXos. — XXXI. Ibid. 1618. ^ovw Bs vavs sppsi. I ro irapa/ciXsva/jLa 8' rjv 'JLXsv7]9, k. t. X. The common reading is, ^ovco Bs vavs ippslro. TrapaKsXsvafia. S' '?]v. The two following passages will evince the propriety of our connection. Iph. T. 320. Ov Brj TO BsLvov TrapaKsXsva/jU i^fcovaafisv. Tro. 15. "Fiprjfjua 8' dXar} Kal S^smtj dvd/cropa ^ovo) fcarappsl. — XXXII. Here. 1151. "H adpKa rrjv £/x7]v | KarsfiTrprjaas irvpl. This reading was originally produced, and perhaps invented, by H. Stephanus. The old editions read sfjurpi^aas. We believe that there is no authority for the double compound Kar£f.i7rpr)aa9. A satisfactory mode of supplying the syllable which is wanting, does not occur to us. Berhaps the poet wrote, "H adp/ca ryv rdXatvav ijuLTrprjaa? irvpL — XXXIII. El. 545. AXX' rj ns auTov rdcpov sTToncrslpas ^svo9 ^F^Kslpar, rj ryaBs | aKoirom Xa6o)v X0ov69. The latter of these verses is so awkward in several respects, that we do not hesitate to j^roj^ose the following transposition of the words: 2,ko7tov9 XaOcbv ifcslpar, t) rrjaBs xQovo9. If the expression aKoiTov9 XaOoiv alludes to the guards of the frontier, this alteration is absolutely necessary. Com- pare V. 95. Hel. 1189. Here. 82.— XXXIV. El. 1249. Hi;- XdBr) fjbsp ^aXsKrpav | B69 dXoxoi^ sl9 B6/jiQV9. — XXXV. XXXVI. ON THE ICTUS METRICUS. 185 Dan. 4. ^KKplcrtos stXrj'^sVf \ rvpavvos rfjaBs yijs. V. 46. 'E/c A toy a(j)i^oiuLai I Td')(^LaTa a-rj/jLavcov. The beginning of the Danae is equally spurious with the conclusion of the Iphigenia. On the whole, we think that we may safely affirm, that of the thirty-six preceding instances of the violation of our canon, not more than fourteen can be called real ones. These are, the first four, the eighth, twelfth, thirteenth, fourteenth, eighteenth, twenty-third, twenty-fourth, thirty-first, thirty -fourth, and perhaps the twenty-ninth. It would not be difficult to reduce this number still farther. But we abstain from proposing corrections, until we are satisfied that they are required. An observation on this subject which we made in the preceding note, applies with equal force to the case now before us. With respect to ^schylus and Sophocles, their versification, as we have already mentioned, is more licentious in this point, than that of Euripides. In the fourteen tragedies of ^schylus and Sophocles, our canon is violated more than thrice as often as in the seventeen tragedies of Euripides. See^sch. Prom. 6. 42. 641. Theb. 463. 1054. Pers. 251. 329. 352. 465. 469. 503. 509. 519. 839. Agam. 952. Choeph. 148. (^kcdkvtoIs) 491. (a'xoXKZvTOiSf) 883. Eum. 26. Suppl. 404. (ovBsTTsp) 406. 916. 954. 1023. Soph. O^d T. 395. 598. (avToh) 613. 738. 785. 856. 1290. Ant. 329. 997. 1021. Aj. 377. 855. 994. 1091. 1137. • Phil. 101. 446. (ovSsttco) 737. 1064. 1304. 1369. El. 330. 530. 1038. 1215. In this enu- meration we have omitted all lyric senarii, and all those in which the common reading appears to us to be corrupt. ON THE ICTUS METRICUS IN IAMBIC, TROCHAIC, AND ANAP^STIC VERSE. BY PROFESSOR DUNBAR. From the Cjlassicai. Journal, vol. xxxi. p. 83. As Hexameter verse necessarily requires a lengthened tone on the first syllable of every foot, so also in Iambic verse, the last of an Iambus, SpondcBus, and Anapcestus, and the Jirst of a Dactyle, require a lengthened tone in the recitation to preserve the harmony of the verse. In Trochaic verse, the lengthened 186 ON THE ICTUS METRICUS tone is given to the first of a TrochcBus, a Spondceus and a Dactyle, and to the last of an AnapcBstus. In Anap^stic verse, the Ictus falls on the /a5^ of an AnapcBstus, and on the first of a Spondceus and a Dactyle* These rnles, differing in some re- spects from those which Dawes laid down in his Miscellanea Critica, have been generally recognised as fiir as they apply to syllables naturally long ; but their application to short vowels preceding certain mutes and liquids, and even before single con- sonants, has never, so far as I know, been properly ascertained. No critic before Dawes' time appears to have established any rules respecting the power of the Ictus Metricus, or the practice of the Attic Poets in lengthening and shortening vowels before particular mutes and liquids. As the science of Prosody was not so well understood in his time as in the present day, we need not be surprised that in some respects his rules were incor- rect, as they Avere founded on no general principles, but merely on what appeared to him to be the uniform practice of the Attic Poets. His tvf o rules respecting the position of short vowels before mutes and liquids, I shall give in his own words. I. Vocalis brevis ante vel tenues, quas vocant, consonantes TT, /c, T, vel aspiratas, , %, 6, sequente quavis liquida; uti et ante medias /3, 7, S, sequente p, syllabam brevem perpetuo claudit. II. Vocalis brevis ante consonantes medias /3, 7, S, sequente quavis liquida pra3ter unicam p, syllabam brevem nunquam terminat, sed sequentium consonarum ope longam semper con- stituit. The first of these rules Dawes meant to apply to the Comic * According to Dawes, in his Mis- as consisting of three short syllables, cellanea Critica, sect. 5., the Ictus, in can have no Ictus or lengthened tone Iambic verse, falls on the middle of a on any one of them, nor can a Dactyle Tribrachys and a Dactyle : in Tro- or Anapaestus have the Ictus on any of chaic, on the first of a Tribrachys and their short syllables. Dawes, I appre- AnapEestus : and in Anapa3stic, on the hend, confounded the Ictus and the penultimate of a Dactyle and Proce- accent together ; two things totally leusmaticus. If by the term Ictus distinct. He was equally wrong, in Metricus be understood, the lengthened my judgment, in stating that in Ana- tone given to any ■particular syllahle, paestic verse the Spondseus took the to preserve the i^hythm and harmony of Ictus on the last syllable. This kind tlie verse^ in which sense I understand of verse so nearly resembles Hex- it, then Dawes' account of the Ictus ameter, that I have no doubt, with on these feet must, I apprehend, be the exception of the Anapasstus itself, incorrect : because it is absurd to say it requires the lengthened tone on that the middle syllable of a Tribra- the first, both of a Spondseus and a chys, or the penidtimate of a Dactyle Dactyle. A few deviations will be can be pronounced with a lengthened afterwards pointed out. tone. The Tribrachys, in my opinion, { IN IAMBIC, TROCHAIC, ETC., VERSE. 187 Poets, the other both to the Comic and Tragic Poets. Porson, who soon perceived that Dawes' rules, though general, were not universal, does not appear, from any remark to be found in his annotations, to have had distinct and correct notions of the subject. In a note on the 64th line of the Orestes of Euripides, he says, " Quanquam enim ssepe syllabas natura breves positione producunt Tragici, longe libentius corripiunt, adeo ut tria prope exempla correptarum invenias, ubi unum modo extet producta- rum. Sed hoc genus licentife, in verbis scilicet non compositis, qualia tskvov, Trarpbs, ceteris longe frequentius est. Rarius multo syllaba producitur in verbo composito, si in ipsam junctu- ram cadit, ut in iro\v)(^pvao9, Andr. 2. Eadem parsimonia in augmentis producendis utuntur, ut in iirsKXcoasv, Sup. 12. ks- K\rjo-6ai, Sojjh. Elect. 366. Karior adhuc licentia est, ubi praspositio verbo jungitur, ut in airoTpoiroi, Phoen. 595. Sed ubi verbum in brevem vocal em desinit, eamque dua3 consonantes excij^iunt, qure brevem manere patiantur, vix credo exempla indubias fidei inveniri posse, in quibus syllaba ista producatur." That these observations can in general be supported by ex- amj)les, admits of no doubt. Still the question recurs, " Had the Attic poets no principle to guide them, in lengthening or shortening syllables terminating with certain mutes and liquids?" I answer, that they certainly had, and that they acted on a similar principle with the Epic Poets, will, I imagine, be ren- dered indubitable from the following induction of examples. Before, however, j)roceeding with the main argument, I shall endeavour to show, from several proofs, that Porson was incor- rect in stating, " that in compound words, a ^hort vowel before a mute and a liquid was rarely lengthened, si in ipsam junctu- ram cadit, and that when a word ends with a short vowel before the next beginning with a mute and a liquid, scarcely a legiti- mate example can be produced where it is lengthened." The following prove the contrary. Sophocl. Elect, v. 9. ^aaKuv ^VKiqvas TCis iroXvypvcrovs opdv. Sophocl. Elect. 1190. Tts j - -1 - -1 - -I vydp do9. Aristoph. Av. 211. Ni- - -1 " -I - -I " -1 \/jb£a6s (f)vX.a /jLvpla KpcOoTpdjcov. In this example, not only is -1 "-I the o of the compound Kpidorpdycov lengthened before the rp, [but the a of fivpla, the last letter of the word, is made long- before the Kp of the following. To these might be added several other examples both from the tragic and comic poets. In Por- 188 ON THE ICTUS METIllCUS son's own example from the Phoenissse, the o of the preposition in the compound airoTpoTroi is lengthened by the ictus, as we find the same vowel short in airoTpiirei. Eurip. Orest. 404. ^SfjLval 'yap sviralBavTa 8' airorpsTrsi, Xsystv. The following show, that a short vowel at the end of a word is frequently lengthened before a mute and a liquid. Soph^cl. QEdip. Tyr. 427. UpoTrrjXaKL^s' aov ^yap ovk sart (Bporcov, Eurip. Iph. Aul. 1609. ^ATTpoo-BoKTjra Bs jSporoh. SophocL CEdip. Col. 1314. L^opl Kparvvwv. Sophocl. Antig. 1107. A/oa vvv raS* sXOodv fi^S' - -I sTT dWoLori rpETTS. Eurip. Elect. 1058. '^Apa KXvovaa, /jurJTSp. - -I - - I Sophocl. Aj. 1109. 'O to^6t7)9 solksv ov a/jLLKpa (^povzlv. Erfurdt, in order that Person's rule might not be violated, has a/jLLKpov (ppovslv, contrary to the general idiom of the language and the best authorities. In the Persas of ^schylus, both Blomfield and Elmsley read asp^Tjs S' i/nos irals, o)v vso9 viov povsL. The latter in the Heracl. of Euri^oides, V. 387. reads a/jLLKpov (ppovcov, instead of a/juLKpa (fypovcov, the common and the genuine expression. In almost every instance where the adverb is used to qualify the verb, the plural form of the adjective is employed. Thus Eurip. Med. 1126. T/ (f)7]9; cf^povstf fJbhf opOd. Orest. 791. 'fls iyco 8c aarsos as, afJLiKpa cj)pOVTL^(OV o^Xov. ~ "'' '''" "'" "' ""' I. In Iaml)ic verse the Attic poets never lengthened a short vowel before the mutes and liquids, with the exception of /3X, y\, yfjL, yv, Bfi, Bv, unless they formed the second syllable of the foot, when the harmony of the verse required the vowel to be pronounced with a lengthened tone. That this rule is well founded, will, I hope, appear from the following instances. Sophocl. Phil. S97. AXX' sv TrsrpotaL irsTpov sKrpl^cov juloXcs. -I In this example we have a difference of quantity in the same syllable of the same word. In TrsTpotcn, the vowel retains its natural time before the mute and liquid ; in irirpov, on the con- trary, it is lengthened before the same mute and liquid, because the harmony of the verse requires in that syllable a lengthened tone. The s in the noun irsifXos has its quantity varied on the same principle ; thus, Eurip. Hecub. 432. Ko/^tf ', ^Ohvaasij. fju, afKpLdsls Kapa irsifkois. Id. 999. IIoO BrjTa\ ttettKcov £VT09 i) IN IAMBIC, TllOCHAIC, ETC., VERSE. 189 Kpv-ylraa s^si9; see the Medea of the same poet, v. 954. where the s is short ; in v. 945. it is long. The a in the oblique cases of Trarrjp, is long only when it occurs in the second syllable of the Iambic foot ; and the o in the noun oifXnv in the same manner; thus, Sophocl. Phil. 365. Ta ,S' ottX airrjTovv tov -1 ^ -I _ -1 irarpos, ra r aW oa rjv. Id. 368. Jldrpo) sXsaOat' tow S' -I „ i ^ -I _ _, ottXcov Kiivoyv avrjp. Id. 436. TidrpoKkos^ os crov nrarpo? rjv rd ^IXrara. In the Patronymic ^ArpsiS7}9 there is the same variation. Sophocl. Philoct. 322. Kslvols 'ArpslSac^, ry r ^OBvaascos pta. Id. 392. Aoyos XsXsKTat was' '03' ^ArpslSas cTTvyMV. In the «. -1 v -I _ -1 «. -I noun TSKvov also, Sophocl. CEdip. Tyr. 1. ^X2 rsKva KdS/jLov. - -I Id. 6. '^A '700 ScKaiMv fjuTj irap'' dyysXcov, rs/cva. In the adjective -I - -I- -J - -I - -I - - fiaKpos, Sophocl. Philoct. 307. 'Ev rS fiaKpa> rysvotT\ Id. 492. -I " -1 J^ukslOsv ov jJLOL jJuaKpos £L9 OiTTjv aToXos. Tlic s of vsKpos is -1 varied in a similar way. It is short in the following, Eurlp. Hec. 393. Tala vsicpw ts to5 : see also Eurip. Suppl. 132. - -I - -I Alcest. 740. : long in the Hecub. QQ5. ^Ardp rlvsKpov rovhs /hol " -I - -I TIo\v^svr]9. See also Alcest. 723. Supp. 118. In the com- pound drsKvos there is the same variety, not only in Iambic, but also in Anapaestic verse. Eurip. Alcest. 672. ''tlar ovk cltskvos -1 - -I KarOavcov aXXoc9 So/jlov. Id. 903. ZrjXco S' dydfiovs drsKvovs ts ^poro)v. The v of the verb v/Spl^co is also varied. Eurip. Orest. 430. Ovrol pu v^pitpva, o)v ttoKls ravvv kXvsl. Id. Med. - -1 " -I 755. 'E^^/DOicrt TralSas rovs spiovs ica9v[Bpiaai. Eurip. Alcest. -I " -1 - -1 - -I - -I 23. AsiTTO) pLsXd6pcov TcovBs (ptXraTyv arsyrjv. 29. Tt crv Trpbs - -I w -I - -I V. _[ w -I „ _ ^ V. -I fisXadpoLs; see also Sophocl. Pliil. 1410. 1435. To these might be added innumerable other examples. Let us next inquire, whether this principle can be extended 190 ON THE ICTUS METRICUS to the doubtful vowels in certain words, when unsupported by- mutes and liquids. The noun larpos has the quantity of the l varied in different places. In the Prometh. Vinctus of -3^schy- lus, V. 386. the l is long. ^Opyfjs vocrovarjs slalv larpol \6you -I ^ _| _ _| ^ -|_ _| .. _| So also in the Ion of Euripides, v. 740. '^vvsKirovovaa kmXov " -I " -I ^ -1 " laTpo9 ysvov. But in the Supplices of the same Poet, v. 264. it -I- -1 - - is short, 'AW cos- larpov twvS'. So also in the Troades, v. 1224. -I —1 and Hippol. 296. It is remarkable that the A in the noun "Aprjs, Mars, undergoes the sauie change of quantity as in epic poetry. Every one is acquainted with the noted line in Homer, II. E. 455. "Apzs, "Aps9, ^poToiXocys, fMLaKpovs, THt^scrtTrXT^ra. In the first "Aps9 the A is long, in the other it is short. The same change of quantity is observable in the two following lines of the 'ETTTa sttl ©rj^as of ^schylus. In v. 230. it is long. Tourw yap "ApTjs PoaKsrai (pojBw ^porcov. In v. 408. it is short. -I ^TrapTMV 3' a7r' avSpcov, wv "Aprjs icpsiG-aro. It is also short in V. 493., and in the 1417th line of the Phoenissas of Euripides. The a of the adverb asl is subject to the same variation. Por- son, in a note on v. 11 64 of the Hecuba of Euripides, remarks : " Recte hujus vocis penultimam communem esse statuit Pierso- nus ad Moerin, p. 231." The a, however, is common in no other way than other short vowels, which are lengthened Avhen they occupy a certain situation in the verse ; thus, in the Hecuba of Eurip. 1164. the a is long, TotovS' 6 8' asl ^vvrvxpov - -I « -I sirlcTTarai'. and in the Medea, v. 456. l^ayu> fjusv ael ^acnXscov - -1 " -I- " -I S^v/jLovfisvcov. In V. 458. of Porson's edition it is short, as in many other places. St* 3' ov/c avUis /jicopias, Xsyova asL -I - -1- -1 --1 - -I It is well known that the a in the accusative of such words as Srjcrsv^, ^Op(psu9, ^aa-iXsvs, is some tunes short, but more fre- quently long. Some wise critics content themselves with the supposition, that it is lengthened by following the analogy of the genitive in scos. If this were the case, why was not the a changed into its own long vowel rj, in the same manner as the o of the genitive into co ? The difference of quantity must, I ap- prehend, be accounted for on no other principles. In the follow- i IN IAMBIC, TROCHAIC, ETC., VERSE. 191 ing lines the a of the accusative is short. Eurip. Hecub. 870. '^vv Tolcrhz Tov ifiov (povsa rt/jLcop^ao/jbaL. Id. Elect. 599. As^op, - -i "- "^ "I - " "I" -I - - 1 Tt Spcov av (j)ovsa rco-alfjiijv Trarpos^. See Sophocl. Trachiii. 1207. -I - " -1- -I - -1 - - OEdip. Col. 1055. Aiistoph. Vesp. 1206. ''Ors tov Spofxsa ^diJWov, o)v /3ov7rac9 etc. The noun Spo/xsa, I would here con- sider not forming an Anapaestus, but a Tribrachys, and therefore the a retains its natural quantity. In a variety of others, the last vowel is lengthened solely in consequence of the situation it occupies in the foot; thus, Aristoph. Plut. 1182. Kal /xstskoXsl >- "1 " -I TOV ispsa' vvv 3' ovBs sh. Eurip. Hippol. 1148. Hot jr/s dvaKTa 1--I i TTJo-Bs (drjasa fjioXcov. Sophocl. Philoct. 361. Tov ov/c st ovTa -1 ^ -I ^'-l w - V- _[ v> _| _ t,oyvT ^Aj(^LXksa waXcv. See also Eurip. Androm. 1236. and 543. -I - -1 —i - - "Words of this description have frequently the two last vowels, which are both naturally short, contracted into one long syllable. Thus Eurip. Alcest. 25. 'Ispsa SavovTcov. Phoeniss. 927. ^cpd^at -- -1 - -, M-SvocKsa Tovhs hsl. Id. 1181. 'OpSy hs Tvhsa koX TrapacrinaTds " -1 - - 1 ,. -1 ^ -I _ _i TTVKvovs. In Trochaic verse the same vov/els are contracted. Eurip. Iph. in Aul. 1341. Tlva hs cpsvysc?, tskvov. Iph. 'A;)^fcX- "^sJa TOILS' Ihslv ala'^vvojjbat. -1 - - I - -I - -1 - It has been observed by several writers on Prosody, and l^y the English critics in general, that a short vowel in Iambic verse must sometimes be pronounced as a long vowel before the inceptive p, because the pronunciation of that letter seems to retard the sound of the vowel. But several examj^les are to be found in which the inceptive p has no such power, when a short vowel precedes it in the first syllable of the foot. There must then be some other cause independent of the letter p to lengthen a short syllable when it forms the second of an Iambus, and that, I apprehend, can be no other than the Ictus Metricus on that syllable. In the following examples the vowel remains short before the inceptive p. ^schyl. Prometh. 738. ^piixir- Tovaa payj^aiGiv sKirspav yQova. Sophocl. Q^dij). Tyr. 1289. -I " -I --I - -I - -I Tov /jbr)Tpo9, avho)V dvoai ^ ovSs pr^Ta fxoc. Id. v. 72. Apcov, rj tl - -1 " -I - - -I " -I " - _ _i „ 192 ON THE ICTUS METRICUS ^(ovMv, Trjvhs pv(TaLfM7]v TToktv. In sevcral compound words, the -I - - - -I short vowel preceding the p, the inceptive letter of the latter part of the compound, remains short. Thus Sojohocl. Aj. 134. 'YsXafjLcavLS Trat, rrjs dfKpLpvTov. In the following the short - - -1 -- -I - -I .. - - vowel before the inceptive p is lengthened. Euripl. Supp. 461. ^v 5' ouK avs^sL, XP^^^ ^' ^'^'^ py]Tols apa. Any ^^erson who at- -I " -I - -I " -i tends at all to the pronunciation of the feet in this verse, will at once perceive that the i of the preposition iTrt is lengthened, not in consequence of the inceptive p, but because the harmony of the verse requires it to be pronounced with a lengthened tone, independent of the letter following. Sophocl. CEdip. Tyr. 847. ToOt' scttlv rjhrj rovpyov sh ifjbs psirov. Aristoph. Plut. 54. Ovk £(t6* ottcos 6 'y^pT^ajJLos sis TovTo psTTSi. Sec also V. 1065. Sophocl. -I v^-l- -I - -1 __|^ GEdip. Col. 900. Eurip. Suppl. 105. ^schyl. Prometh. 1059. Aristoph. Pax, 740. To these many other examples could be added, plainly demonstrating, that the practice of modern editors in doubling the p in order to lengthen a short vowel, not only vitiates the orthography of the language, but is contrary to ancient usa2:e. As Dawes' first rule was intended to apply to the Comic Poets alone, let us next inquire whether Aristophanes has always observed it. Though short vowels are less frequently lengthened by him than by the Tragic Poets, for a reason after- wards tabe stated, still a number of examples are to be found in his poetry of the application of the Ictus Metricus, showing that Dawes' rule was far from being well founded. Thus in the Plutus, V. 777. "Kcjysvyov, slScos ovBsv 6 tXtJ/jlcov syco. Id. -1" -I- -1- -I -~i-- 1079. Ovk av ttot oXkw tovt sirsTpzTrov iroislv. Brunck, very - -I - -1 - -|w_|>.-| ^-1 unnecessarily, would read tovto 7' sTrirpsirov. Id. 1154. Hapa ryv B^vpav Xrpocjialov lBpvcracr6^ sfjus. Nub. 189. ZrjrovcrL /jlt) vvv TOVT STL ^povTi^sTS. lu liuc 215. thc vowcl u bcforc thc samB -I - -I - -1- - mute and liquid is short. 'Us syyvs '^/jlmp. tovto irdvv (fypovTc- - - 1 - -I - -1 " " -I - -1 ^STS. Before the inceptive p the c of the preposition irspl is length- ened, 643. Ta^u y av hvvato fxavdavsiv Trspl pvd/xcov. v. 219. IN IAMBIC, TROCHAIC, ETC., VERSE. 193 ^sps, TLS yap ovTOs ovirl T}]9 KpsfidOpas avijp ; v. 866. Kat tmv KpsfxaOpoyv ov rpi/Bcov tcov ivOdSs. Id. .1472. Streps. Nat, val, KaratSsaOrjTC TIaTpa>ov Aia. 1473. Pheidip. ^IBov ys Ala Tra- rpcpov. COS" dp^acos si. Aves 45. "Ottov KaOihpvOsvrs Staysvoi/xsO^ av. The editors of Aristophanes, entertaining no doubt of the strict universality, of DaAves' rule as apj^hcable to the Comic Poets, have strangely failed to observe these and several other examples that militate against it, and have attempted to correct a few other of the verses which oppose it. Thus in the Eccles. 256. we have the following correct line, Tt 8' 171^ vTroKpovacoal -I - -I - -I - as; Yrsix.7rpoaKtvr].-! - -I ')(p6vov. This last verse Brunck acknowledges opposes Dawes' Canon, and points out, in an excellent note, several ineifectual attempts to correct it. Several other examples will occur in the examination of AnapaBstic verse. From all these instances it is evident that the same rules respecting short voAvels before mutes and liquids apply equally to the senarian of the Comic Poets as to that of the Tragic, with this diiference, that in the former the natural quantity of the vowels is more frequently preserved, both in consequence of the less solemn and stately nature of the language of comedy, and because the comic poets were less re- strained in the use of the Tribrachys, Dactyle^ and Anapaestus, which enabled them to brino- the tone of their lano-uasfe nearer to that of varied and genteel conversation. AVe have a singular instance of the power of the principle I have been endeavouring to establish, in a curious line (895.) in the Plutus of Aristo- phanes, where the poet employs the letter v to express the eager scent of the sycophant. I have no doubt, that the sound of the letter was expressed by the nasal organs, and that it was pro- Guide. O 194 ON THE ICTUS METRICUS nouncecl in pairs, the latter occupying, as was necessary, double the time of the former : .V f/ A f/ . A ft A f/ A r/ A rt V u V V V V V u V V V V. Aristophanes furnishes us with a similar example in his Equites, v.lO., where Nicias replies to the invitation of Demosthenes in a sort of whining tone : [JLV fJbV jJbV fJiU /jLV fJbV fJLV fJLV fJLV fjLV fJLV fJbV \J — \ \J — \ \J — \\J— \\J— \^ — II. In Trochaic verse the first syllable of the Trochteus, as has been ah*eady stated, requires to be pronounced with a length- ened tone, whether that syllable be naturally short, or whether it consist of a short vowel before any of the mutes and liquids. I shall here produce instances of the variation in the quantity of the same vowel in the same word. Thus Eurip. Orest. 735. Xv hi TLvas Xoyovs sXs^as aov Ka<7iyv7]T(p Trarpos. In this ex- ample the vowel iota of KacnyvrjTw is long before ., - wl - .J- IX IAMBIC, TROCHAIC, ETC., VERSE- 195 791. the peniilt. of o;^X.os' is short. ^/icKpa (j^povrl^cov o-yXov. In -I - -I- - 1 the Iphigen. in Aul. it is long. ^D. rsKovaa {irirsp, avopwv oyXov slaopo) TTsXay. A similar variation takes place in the quantitv - " I- "I of the first syllable of irkifKo^ as in Iambic verse. Thus Eurip. Iphigen. in Taur. v. 1215. Kpdra Kpinjravres irsTrXoicnv. 1226. UlsttXov o/jLfidrcov irpoOsaOai. - 1 - - 1 - - 1 Although the Attic Poets occasionally lengthened short vowels before mutes and liquids in Trochaic verse, yet with the ex- ception of those already mentioned, they more frequently pre- served the natural quantity of the vowel. They seem to have sparingly indulged in the license they took in Iambic verse of applying the power of the ictus, and only resorted to it when the versification compelled them. Should any modern, there- fore, attempt to write Greek Trochaic verse, his safest course would be so to arrange the feet that a short vowel before all the mutes and liquids, with the exception of /5X, 7X, 7/x, 71/, 8//-, hv, should occupy the second place. It is difficult to account how the Greek Poets came, almost universally, to lengthen a short vowel before these mutes and liquids. Porson observes in his letter to the late Professor Dalzel, " Dawes lays down a rule, which, if he had been content with callino; it o-eneral instead of universal, is perfectly right, that a syllable is long, in which the middle consonants /3, 7, S, and liquids, except p, meet. But several passages, as well as the following, contradict this rule. Sophocl. ffichp. Tyr. 717. iraihos hs ^Xdaras. Electr. 440. iraawv sfiXaars. [Phil. 1305. s^ rj9 spXaarss.^ These passages may be reduced to Dawes' Canon by transposition ; but they will lose all their energy by the reduction." To my ears they lose neither their force nor their harmony by transposition. ^Xaaras hs iraiho^ ; — s/^aars iraawv. In the latter we gain by transposition the triemimeral caesura, which always adds to the harmony of the verse. But a very few examples from any of the Poets oppose the rule, and most of these may be remedied by transposition. SophocL CEdip. Col. 972. "Os> ovrs j^Xdaras ttcd - 1- -1 ^/svsOXiovs irarpo?, may be remedied and improved by the trans- position of the adverb ttco. Thus, '^Os- ovts tto) pXdaras ysvcOXious -I- -I - -I •'-I irarpos. ^.-Esch. Agam. 1633. 'Op^st hs r^/Xoiaaav ti]v kvavrlav e;)^£is', may be read TXojcraav hs rrfv ^Op(f)sly kvavrlav lefts'. Those in the choral odes need hardly be taken into the account, as in O 2 196 ox THE ICTUS METRICUS tliem the Poets allowed themselves greater liberties than in the more common kinds of verse. III. Brunck has remarked in a note on line 98. of the Plutns of Aristophanes above alluded to, where there is a violation of Dawes' first rule, " in Anapa3stis major est licentia, qua s^pius usum fuisse Comicum alibi ostendemus." The Anapaestix5 verses of Aristophanes are subject to the same rules as those of the Tragic Poets, and therefore I shall take examples from both in illustration of my principle. The s of vsKpcdv is long in v. 1496. of the Phoe- nissa3 of Euripides, nrco/xara vsKpwv rpiaacov 7]Sr]. In v. 1409. - " -I - -I - -I - - of the Medea it is short, "^avaal rs '^(^spoiv, Sdyjrao rs vsKpovs, -I- --I - -1- In V. 1386. and 1408. of the same Play, the s of tskvwvi^ short: thus, 1386. 'AXXa (j 'KpLvv9 oXscrscs tskvcov. 1408. Tskv aTTOKTSivad , clitokwXvsls. In 1392. and 1400.it is long. 1392. ^TSi')(OD htacrwv y ctfiopos rsKvcov, 1400. MaXa/cou '^coros yjravaai tskvcov. In the Electra of Sophocles, v. 96. we have the a of "Ap7]9 long. ^oLVLos "Apr]s ovK s^svLcrsv. In the Seven against --"I- -I - -i--_ Thebes of ^schylus we find a very strong instance of the power of the Ictus in a situation which contradicts both Dawes' and Porson's rules: v. 1059. Tsvos ooikscrars irps/jivoOsv ovt(09. -I The last vowel of cnXsaaTS is necessarily long before the irp of irps/jLvoOsv. If I am right in supposing that the Ictus falls on thej^/'5^ and not the last syllable of the Spondjeus in this kind of verse, the following line will be incorrect: v. 1063. AXXa (^o^ovjjbai KairorpsTro/Mai, because the o of the preposition in composition is made long before the mute and liquid rp, when it is the second syllable of the foot. I had some doubts whetlier the conjunction /cat was not always, Avhen the first syllable of a foot in Anapa3stic verse before a vowel or diphthong, contracted with these, as in the common reading in this line. The follow- ing example from Aristophanes shows that it is not always con- tracted. Nub. 1007. ^jJbiXaKOS o^cov, koX anrpw^^oavvris^ koX \svK7]9 (f>vWol3oXoucr7]9. Tlie reading, I apprehend, should therefore be AXXa cjyo/Sov/jbac kol aTrorpsTTOfiai, making the foot -I - -I ---I-- an Anapcestus instead of a Spondteus. — As the Ictus falls on the first of a Spondeeus, the s of the adjective drsKvoo^ is in. con- IN IAMBIC, TROCHAIC, ETC., VERSE. 197 sequence lengthened in v. 908. of the Alcestis of Euripides, though in v. 903. it is short in the same word; thus, 908. Of tXtjtoii opav, s^ov cltskvols. v. 903. ZrjXw S' cvyajjuovs arsKVovs Tf jBpOTOdV, The following examples from Aristophanes have been pointed out by Dr. Maltby as opposing Dawes' Canon. Nub. 320. Kal XsTTTokoysLP rfhi] ^rjTsl, koI irsfjl Kairvov arsvoXsa'^SLV. Aves, 579. Kat CTTTsp/jLoXoycov SK TMV aypMV TO CTTTsp/j/' avTMV avafca^lrat. Id. 591. 'AXV dvaXi^SL iravras Kadapoys avrovs djsXr] jjula kij^Xwv. In V. 344. of the Nubes, the s of the particle Ss is lengthened before the inceptive p of plvas\ thus, }^ov^l yvvat^lv, fid A/', ouS' OTLovv. avrat Se plvas s-^ovacv. And these have nostrils ; in allusion, as Wieland observes, to the large noses on the masks worn by the actors, which, to a spectator near the stage, ap- peared out of all proportion to a human face, but to those at a distance, of a natural size. Several copies and MSS. have avrac Bs ys plvas, k, t. X., which is probably the correct reading. The Bs, however, as being the first syllable, if the foot should be considered a Spondaius, would be lengthened by the Ictus, independent of the inceptive p. — The v of vypdv is long in V. 334. TaOr' dp sirolovv vypdv l^scpsXdp. — On this Porson re- marks (Prasf. ad Hecub. p. Ixiii.), " Licentiam qua ob mutam et liquidam producitur syllaba, rarissime admittunt (Comici), idque partim ex necessitate, partim quum alios Poetas vel citant vel imitantur. Quum igitur primani syllabam in vypdv pro- ducit Aristophanes, dithyrambos ridet; quum Homeri verba usurpat, Homerico metro utitur. Nub. 400. ^ovviov d/cpov A. Nee dubito quin Nub. 319. Tragicorum aliquem, Euripidem, opinor, ob oculos habuerit." From the examples which have been already produced in this dissertation, and from many others that might be pointed out, it will appear evident that Aristophanes frequently lengthened a short vowel before mutes and liquids, even Avhen he was under no necessity of doing so. In a language so copious as that of the Greeks, and which ad- mitted of transposition to a great extent, the plea of necessity would scarcely avail such a poet as Aristophanes in violating the rules of versification. Neither is it very likely that he would transgress against these rules when he cited the words of another poet, because, if he quoted the whole or any part of an Anapaes- tic line from Euripides, he would find that no more license was granted to that Poet, though a Tragedian, in moulding Ana- o 3 198 rOKSON'S CANONS AND REMARKS. poestic verse than to himself. I have repeatedly remarked, that Hexameter verse appears to have given origin to Anapcestic, and that, therefore, so far as regards the Sponda?us and Dactyle, there is no difference in the application of the Ictus to the first syllable of each in both kinds of verse. — In the following ex- ample, Aristophanes has lengthened a vowel contrary to his usual practice. Nub. 409. 'H S' dp icpvcrdr sir i^aL. 322. ovBs rl pav XP^^ "Ecrrat TvpLl3o')(orjs. Euripides, Hec. 962. has once ventured to imitate this construction : akXd rls XP^^<^ '^' ^fjioi) ; The Greeks commonly say, Bsl aoc rovBs. -<3Eschy- lus seems first to have changed the dative into an accusative. Prom. 86. avrov yap crs Bsl YlpopirjOscds. Euripides followed him, Hec. 1007. Phoen. 480. Hipp. 23." Or. 659. "In II. A. 283. Xiaao/jb ^^^(^iXXij'L pLsOspisv yoXov, the dative is not governed by XlaaopLai : the meaning is : I entreat thee to dismiss thy anger against Achilles." Or. 663. " AsLKPvpLL is rightly followed by a participle : Eur. Or. 792. TTov yap cov Bsl^co (plXo^; Iph. A. 407. Bsl^sls Bs ttov fiol Trarpos SK ravTov ysyuis ; " Or. 1. c. " The enclitic rs never follows a preposition, among old Greek writers, unless it commences a clause. An Athenian, therefore, might have said, av rs 7r6Xso9 dp'^^als, or kv iroXsos rs dp)(ah, but not iToXsos sv r dp')(als. In Eur. Or. 887. OS av BvvTjrat ttoXsos, sv t' dpyalcnv fj, the construction is, os dv ttoXsos^, sk being understood, as in Soph. Aj. 1044. Tis B' s(7TLV, ovTLvdvBpa TTpoaXsvcrasLs arparov;^^ Or. 1. c. ''^Eur. Or. 910. avrovpyos, o'lirsp Kal fiovot crco^oucn yijv : the same constructon as in Hel. 448. ''FjXXtjv its(^vkoos. oIctlv ovk sTTLarpocpaL'^ Or. 1. c. " The verb /jlsXXslv is coiTectly followed by an aor. inf. : Or. 286. Si pLi'-jT sKelvos dvaXa/Sslv ijfisXXs (f)oj9.'^ Or. 1. c. " Neuter plurals are often put in apposition with a noim in the singular: Eur. Or. 1051. Kal pLV7]p.a Bs^atO' sv, KsBpov tb-^- vdo-fjuaTa. So Tsyvy^iiara is applied to a single cup. Soph. Phil. 36. vvp.ct)£La to Antigone, Antig. 568. irpocrcpdypLaTa to one \dctim, Hec. 265. Ovid. Met. xv. 163. Cognovi clypeum, Itevae gestamina nostrse." Or. 1051. 206 pokson's canons and eemarks. " Wlien the second person strengthens or corrects the opinion of the former, after Ss, another word being either interposed or not, the jDarticle ys follows." Or. 1234. ^^ Enr. Or. 1338. aa)67]6\ oaov ys tovtt s// : this phrase ad- mits a double interpretation : as far as lies in my power, and as far as concerns me.^^ Or. 1. c. "Verbs which signify motion admit an accusative of the in- strument or member employed : thus ira ttoS' sira^as ; Hec. 1054. TTspa TToSa, ib. 53. ^aivsLv iroha, Electr. 94. Trpo^as /cwXov, Phoen. 1427. But alaaaiv is really a verb active; for its passive alaoroiJbaL occurs in Soph. Qlld. C. 1261. : hence alaastv ai}pav, Or. 1427." Or. L c. " Asvpo is used generally of place, but sometimes of time : especially when joined with ast." Or. 1679. "Eur. Ph. 79. ^ ^ - iyo) S' spiv \voua viroaTTOv^ov fioXslv STTSLcra iraihl iralha. Valckenaer's conjecture Xvaovcf is unnecessary, because the pre- sent participle impHes an attempt." Ph. 1. c. "Eur. Ph. 90. sTTiayss, ois av Trpov^spsvvrjcro) (ttl/Sov : Brunck would read Is* r av, because o)9 av is never used for sco9 av : but herein he is wrong : oos av means that. He who desires another to remain, that he may do something, at the same time bids him remain, ujitil he has done it." Ph. 1. c. " Asyovaiv aXki]\aL9 means they say 07ie to another : Xsyovacv dWijXa^, they say one of another T Ph. 208. " Eur. Ph. 300. yovvirsrsh sBpas TrpoaTriTVco a : Brunck has been wrong in admitting the conjecture of Valckenaer, yowTrs- Tsl a shpa : for if irpoairiTvetv as and TrpoaTrlrvstv shpav are cor- rect separately, why not conjointly ? Soph. Trach. 49. iroXKa fisv a syo) Is^aTslSov rjhrj iravhaKpyr oSvpfiara Tr]v 'Upd/cXstov s^oSov yo(o/jisv7]v : where the more usual construction would be, nTavhaKpvTOis oBvpfiacnJ^ Ph. 1. c. "Nominative absolute: Eur. Phoen. 290. fisXkcov 8s TTs/xTTSLV fjb OlhiiTov kXslvos yovos, /jLavTSia asfivd, Ao^lov r sir s(7')(apas, sv TwS* sTrsarpdrsvaav ApysloL ttoXlv : or iroXsi, both constructions being admissible." Ph. 1. c. " Kal iTOis, objects or contradicts : itms Kal, asks for farther information: Hec. 519. ttws" Kai, viv s^sirpd^ar \ So the con- junction is put after tls, itms, ttov, Trot, 7ro?os>." Ph. 1373. " The particle ys is often added in the same sentence with dWd fjLTjv, Kal jjii^v, ovBs fiTjv, ov pLrjv, but never except another word intervenes." Ph. 1638. POKSON S CANONS AND REMARKS. 207 " The particle 7s often follows slirsp, either closely, or another word being interposed." Med. 814. " 'EpSTfjLTJaat is simply to row ; ipsT/jLcocrac, to force to row, ex- ercise in r owing r ]\Ied. 4. " Vap in interrogations may often be rendered by icliy 9 as in St. INIatt. xxvii. 23. tl yap kukov sTroLrjcrs ; ivhi/, ichcit evil has he done 9 Yirgil has elegantly imitated this : Geo. iv. 445. Nam quis te, juvenum conjidentissime, &c." Scholef. on Med. 58. "Eur. Med. 105. hrfkov 8' ap')(rjs i^atpo/nsvov Nf^os* oliJLCd'yrjs : this is the figure, which grammarians call avaarpo^r], of which another instance occurs below, 1105. crajfiara S" ij/Srjv slarjXds TSKvcov.^^ Med. 1. c. " There are many nouns, which being in the singular only masculine and feminine, become neuter in the plural, as Sicjipo^, Blcppa ; kvk\o9, icvKka ; ksXsvOos, KsksvOa ; Bsa/u,69, Sco-fid ; alro^, crlra, &c." Med. 494. " From vifjLG) is formed vcopuav, from crrpscfxj) aTpco^av, from TpsTTco Tpcoirav : irsTOfMaL alone, as far as I know, makes both TTordcrOaL and TrcordadaL.''^ Med. 664. " "Ayouaiu ov fisOsV av i/c yaias i/jis: the Scholiast w^ell explains the construction : ayovaiv s/jls i/c yaias ovk av fisOslo, sfiov being understood. But Brunck endeavours to prove from this passage, that the middle form fjbsOisaOaL governs the accusative. Lest others should be led into a similar error, I wiU briefly explain this figure. When two verbs, governing different cases, may be equally referred to the same noun, the Greeks, to avoid an un- pleasant repetition of the noun or pronoun, put it but once in either government, omitting the other." Med. 734. " The ancients from aslpoo first formed a future aCpSi or dspoj, k whence by crasis alpo) or dpco, with the a long. But having contracted the verb itself into atpw, they formed a new future ^poy with a short." Med. 848. " The verbs Kardystv, /cardysa6at, Kartsvai, Karsp'^sadac, have the peculiar sense in Thucydides and historical writers of r^- storing exiles to their country, or of their return from exile." Med. 1011. " The vowel ina^}, Ico/iai, larpos, andX/avis common." Pra^f. "The second syllable in yivva is always short." Hec. 157. " The second syllable in 6pvL9 is always long in Aristoph." I Hec. 204. " The second syllable of avpa is long." Hec. 444. " The last syllable of cfiovsa, which according to grammarians ought to be long, is thrice shortened by Euripides: Hec. 870. Electr. 599. 763." Hec. 1. c. " The first syllable of KaXos is long in the old writers of iambic verse, Archilochus, Solon, Simonides." Or. 5. 208 porson's canons and remarks. [" The first syllal)le of Ka\o9 is long in Homerj common in Hesiocl and Theocritus, generally short in Attic writers." Clark, II. B. 43.] " The first syllable of BcOvpa/jL^os is long." Or. 5. " The first syllable of tcro9 is always short in Tragic and Comic writers ; but the compound iaoOsos has the first long in ^sch. Pers. 80." Or. 9. " Tlapaylrv^T] has the penultima short, being derived from the 2 aor. So htaTpXlBr] from ScaTpL/Sco.''^ Or. 62. " Although the Tragic writers often lengthen by position syl- lables naturally short, yet they are more prone to shorten them, so that you will find almost three examples of the latter to one of the former. But this kind of license is far more frequent in uncompounded words, as tskvov, irarpos. It is much more rare to find a syllable long in a compound word, where it falls on the junction itself, as in iToXv')(^pvaos, Andr. 2. They are equally sparing in lengthening augments, as in stte/cXoxtsv, KSKXTjaOac. The license is yet more rare in the case of a preposition in com- position, as airoTpoiroL. But Avhere a word ends in a short syllable, and two consonants follow it, which would permit it to remain short, I believe that scarcely any examples undoubtedly genuine can be found, in which that syllable is made long. MSS. are of no authority in such matters; for one does not agree with another, nor is the same MS. consistent with itself. Hence I have added v at the end of the word wapsBcoKa : irapOsvov, i/ifj ts /JLijrpl irapihwKSv Tps(f)SLv.^^ Or. 64. " The last syllable of iroTvia is always short." Or. 1246. " The second syllable of sv/xapts is long." Or. 1364. " The second syllable of BslXaios may be short." Ph. 1332. " The penult, of dvla or dvlrj is generally long, sometimes short : the verb dpidt,(o in epic poets generally has the second syllable long : the verb clvlm in Aristophanes thrice shortens the penultima, thrice lengthens it : the second syllable in dvtapos, if I mistake not, is always short in Eurip. and Aristoph., long in Soph. Ant. 316. But the third syllable is every where long." Ph. 1334. " The first syllable of dvrjp is never long, except when it makes dvspos in the genitive. But since the Attics never use dvspos in iambic, trochaic, or anapoestic verse, it follows that with them the first syllable of dvr^p must be short." Ph. 1670. " ^sch. Eum. 727. ^Apyslos dvrjp avOis sv ts yjiriixacn OlksI iraTpcpois' admits not of emendation. I am therefore inclined to believe that iEschylus sometimes retained the Homeric quan- tity in dvi^p, ov. (475.) JLvicra, Kptcr9, as Soph. Trach. 382. Gloss. 210. Diminutives ending in vXo9 have something of blandishment in them, as alfivXos from aXfjucov ; rj8vXo9 from rjSvs ; fjuKKvXos from jjLiKKos, or jjiiKpos ; ipcorvXas from spcos ; ocr/ivXos, alavXos; ALa')(yXo9, X.p£iubvXo9. The form seems to be ^olic, because it is preserved in Latin ; as in the diminutives, parvulus, tremulus, V 2 212 BLOMFIELDS CANONS AND REMARKS. globulus, and especially cejiiulus, which is in fact nothing more than the Greek word ai/jLvXo9, All the words of this kind are paroxyton, with the exception of 6^v\o9 and "\tv\o9, and short in the penult. Gloss. 214. Adverbs, of whatever form, are not derived from the genitive, as grammarians suppose, but from the dative case of nouns. The greater part of those deduced from the dative plural end in (os (sc. 0L9), some from the dative singular in sl or t. Those wiiich were formed from nouns ending in rj or a, were anciently Avritten with St, since they were nothing else than datives, so written before the invention of the letters 7} and co. Thus from ^os, gen. ^oh, dat. /3o£?, arose avrojSosL But the dative of nouns ending in 09 was formerly thus formed : oIko9, dat. o'Ikol, arparb^, dat. o-rparoi ; therefore all adverbs derived from words of this kind anciently ended in ol ; which is evident from the adverbs o'cKot, irsBoLi dpfjLot, ivSol, which still retain the old termination. After- wards the o was omitted lest the adverb should be confounded with the nominative plural. Thus from aiJba')(os is formed ayuwyl, not a\xayzi', from avaros, avari', from df^d')(7]T09, d/uba')(7]Tl; from do-TsvaKT09, darsvaKrl, &c. The ancient form was frequently corrupted by transcribers, because they were not aware that the final I is sometimes long and sometimes short : short, as dfioyyrl, Iliad A. 636. /jLsyaXcoo-rl, S. 26. /xsXs'icrTl, H. 409. darsvaKTi, ^schyl. ap. Athen, vii. p. 303. C. dcopl, Aristoph. Eccles. 737. Theocrit. x. 40. xxiv. 38. : long, as dvcBpcorl, Iliad O. 226. daTTovBl, O. 476. dvac/uLcorl, P. 363. dvovTijrl, X. 371. /busra- aroixh "^. 358. syKvrl, Archilochus, Etym. M. p. 311. 40. (yet» the last syllable of the same word is made short by Callimachus. Suid. V. sv')(pa>,) daratcrl, CEt. C. 1646. d/cpovv^l, Meleager, Brunck, Anal. i. p. 10. dicXavrl, Callim. fr. ccccxviii. Gentile adverbs ending in tl, as Acopicrrl, ^pvyco-rl, &c. have the last syllable always short. Gloss. 216. [There is, however, a class of adverbs ending in co9, as SLa(psp6vTco9, 7rdvro)9, ovrco9, davpd(io, which occurs Theb. 48. Gloss. 459. "Tirap, a true dream : Hom. Od. T. 547. Ovk ovap, dX>C virap scrdXov, o Kal rsTsXsafjLsvov scrrat. Gloss. 495. The first syllable of Xiirapsw is long, because it is formed from XiTTaprjs. The first syllable in Xiirapos is always short. Gloss. 529. Attuci), pronuncio, to utter, has the penult common. It is short, P. V. 613. Theb. 143. Pers. 123. Equit. 1023. It is long, Eur. Hec. 156. and SuppL 800. Gloss. 613. Words compounded with irXr)(Ta(D, as olaTpoTrXrj^, are all oxyton, except vottXt]^. Gloss. 702. xipifiTrrco, propinquo, to approach. The most ancient mode of writing this word w^as HpiTrrco ; in w^hich fi was afterwards in- serted for the sake of euphony. Gloss. 738. ^vXd(D, spolio, to plunder, requires an accusative of the person, and an accusative or genitive (but more frequently an accusative) of the thino'. Gloss. 786. ^dpcv ^saOai, rlOsaOaL, and even ^slvai, signifies to confer a favour. Gloss. 807. "AiTvpos, ardentissimus, iroXvirvpos. In some words a is inten- sive, and is said by grammarians sTTiracnv SrjXovv: so dBd/cpvros for irdXvhaKpvTos, in Soph. Trachin. 106. Antig. 881. d^iiXw vXr), Homer, II. A. 135. dirvpo^, in the sense of sine igne, is used, Agam. 71. Gloss. 905. p 3 214 blomfield's canons and remarks 'Eoacrreuct) is formed from spaa-Trjs, as Xyarsvco from Xyartjs, /jbvrjaTSVco from fjbvr]aTr)9, &c. Gloss. 922. To^* Koarovvr asi, ichoever happens to be in power: this force of ad is very frequent in Attic writers, especially the orators. Thuc. ii. 11. airo ^spairsias tcov asl TTposcrTooTcov. Gloss. 973. TpLKVfiia : every third wave was considered to be the largest : the Latins s^id Jiuctus decumanus. Gloss. 1051. Tipos ravra, therefore: irpos tovtols, besides. Gloss. 1065. "ApS7]v is from dpco : as avph^v from avpw, (pvpSrjv from (f)vpco. Gloss. 1087. PERS^. The Tragic writers made the first syllable of taos short ; but in laoOsos they necessarily lengthened the iota, in order that the w^ord might be adapted to verse. The same thing took place in aOdvaros, dKd}xaTO6pos, sXacf^olSoXos, for the same reason, viz. that the con- currence of four or more short syllables might be avoided. (81.) Kvdvsov, according to Burney, is a trisyllable : but since Kvavov is the name of a metal, Kvdvsov is more correctly written Kvavovv. Phrynichus, X/3^ ovv XsysLV '^pvad, dpyvpd, Kvavd, tov ArTLKi^ovra. — l^pvaov9 Xsys' to Xvapb9, ^Xavpos ; all of which have a notion of lightness and emptiness. Gloss. 222. \p.av is, to scrape with the hand, sc. the sand, and to make level, from dpua : hence dp,avpov is, whatever is levelled with the ground. Of the same family are dpuaOos, arena, the sand ; and dp.a6vv(D, to erase, as letters written on the sand : likewise dp^aXov, plane, and dp.aXBvvco, to render plane ; and all of them perhaps ought to be aspirated. Gloss. 228. The ancients used only the plural form hvapual, for occasus, the setting, sc. of the sun, or the West. On the contrary, hvais was always put in the singular. Gloss. 237. The particle fa is nothing but the ^olic form of hid, which has an intensive force, like per in Latin. Thus Alca3us said ^dhifKov for hidhrfKov: Sappho, ^asXsKcrdp.av for 8csX£^dp.7jv. Therefore we find ^d6so9, ^ap.svr)9, t,d7rXovTos, ^aTrorrjs, ^aTp£\jiiri'KprnjuL occurs in Aristot. Hist. Anim. v. 1. as also frequently in He- rodotus, — sfjiiri'TTXT^iJbi, Homer, II. ^. 311. Nor is the quantity of the syllable any objection. See Erfurdt, Soph. ffi. R. p. 414. Gloss. 815. In the Tragic writers the plural of sirtTifjiLov is used, not the singular. Gloss. 828. From the ancient word irvvoa, the first syllable of which is long (and its perf. pass, frequently occurs in Homer), is formed TTivvcTKco, in the same way that ^ivwctkw is formed from yvcow. Gloss. 835. ^kvi^o^ai, sustineo, to bear or endure, is joined with a par- ticiple. See Dr. Monk's Hipp. 354. Gloss. 843. Tt irddco ; zvhat ivill become of me ? icliat shall I do ? In inter- rogations of this kind the conjunctive of the aorist often supplies the place of the future. Herod, iv. 118. rt 'yap 7rd6(Ofisv, /juy ^ovXofjbsvcov v/jLojv TLfjLcophiv ; Gloss. 909. Bs^dcrc, not for /Ss/Syj/caatv, as grammarians say : but as TzOvdat belongs to tsOptj/jll, so /Ss^dcro may, I think, be referred to ^s^7]fjLL : and this is confirmed by the infin. (Bs^dvo^i, Eur. Heracl. 610. Gloss. 997. YIms 8' 01) TrsTrXrjy/jLac ; quis neget me perculsum esse ? Observe BLOMFIELDS CANONS AND REMARKS. 217 generally, that the Greeks are partial to Interrogations. So ttcos jap oil ; TTOis ovv ; ttcos* hoKsls ; Trwy oUu ; tl jcip ; rt ovv ; iroOsv ; See the commencement of the Alcestis of Euripides. Gloss. 1013. SEPTEM CONTRA THEBAS. 'EttI, in the sense of contra, is sometimes used with a dative case by iEschylus. See Sept. Theb. 711. Agam. 60. P. Y. 11*24. though with the accus. more generally. V. 1. The article is frequently used for the relative : tovs for ov9, Pers. 43. rovirsp for ovirsp, ibid. 780. toOsv for oOsv, ibid., 780. TTjv for rjv, Agam. 644. &c. • Y. 37. Brunck and Schutz prefer as more Attic ifKsv/jbwv to Trvsvfjbcov, but the latter is the more recent Attic form. The grammarians indeed side with Brunck, but then it is well known that they derived their rules for the most part from ^lian, Libanius, Aristides, and other sophists, sometimes from Lucian, more rarely from the historians or Plato, and very seldom indeed from the scenic poets. Y. 61. The Ionic vrjos for vao9 was not used in the iambic senary. Y. 62. ^u^o/jiai, is frequently omitted before an infinitive mood. See Sept. Theb. 239. Seol iroXlrai, fxri jas 8ov\sLa9 TV')(alv. Choeph. 304. Eurip. Suppl. 3. Hom. II. B. 412. Y. 75. T/o) has the first syllable common in Homer, but short in ^schylus and Aristophanes. The first syllable of rlaco is always long. Y. 77. The first syllable of "Ap7]9 is sometimes long, as in vv. 125. 336. 465. Y. 101. Adjectives compounded of nouns in os generally retain the termination 09 ; thus words compounded of Xojos, Tp6')(09^ &c. in the tragic writers never end in as ; that termination being more modern and less agreeable to analogy. Y. 109. Some adjectives have the three terminations, slos, 109, lkos, as LTTirsLos, iTTTTtos, liriTiKos \ hovKsios, SovXtos, BovXiKos, &c. Thc first of these three forms is used only on account of the metre. Y. 116. The last syllable o£ ttotvui is always short. Y. 141. The probable orthography of %wa is Kvoa. From kvsco, rado, is derived kvovs and Kvda, as from pica, pods and poa ; from %£&)? p^ouy and x^^' ^* ^'^^' Mr] sometimes forms a crasis with si and sl9. Y. 193. The tragic writers never join Ss and rs. Y. 212. The words ^v tol are never construed except with the indi- cative. Y. 220. 218 blomfield's canons and remarks. OvTi no where begins a sentence, unless /ult], ttov, or ttms follows, or when there is an interrogation, and then a word is always interposed between them. The formula aX)C ovrc is frequent at the head of a sentence. V. 222. Nvv is always an enclitic when it is subjoined to the particle fMT], Y. 228. "\(jT7]fjit rpoiraiov is more common ; but TiOj^fjiL is equally good. Eustathius (IL K. p. 818. 21.) correctly observes that Tpowaiov is the substantive, Tpoiralos the adjective. V. 263. The Attics wrote h^los and hyos, not halos and haos, as is clear from the compounds BrjiaXcoTo^, ahrjos, and the verb hrjow. Aatos", however, is the proper orthography, when it signifies aOXios. V. 264. Nfay is a monosyllable. V. 316. Tls-, in the sense of adeo ut, is only found with the infinitive. V. 361. 'TirspKOTros, not v7rspKo/jb7ro9, is the form used by the tragic writers ; for there is no passage in them where the metre re- quires the latter form ; some where it rejects it. A later age, as it seems, inserted the /jl. V. 387. %voLa, and similar compounds, very rarely produce the last syllable ; in ^schylus never. V. 398. *A fjLTj Kpavoi Ssos. In prayers of this kind the aorist is more usual than the present. V. 422. 'Ish in the tragic writers has the first syllable common, but oftener short. V. 489. FjcOs jap is scarcely Greek. Utinam is expressed by si or el jap, never by sWs jdp. Y. 563. Nothing is more common than the use of the thing for the person : as iravovpjia for ol Travovpjot, S. c. Th. 599. SovXsLa for ol BovXoL, [Thuc. v. 23.] Plato LL. vi. p. 263. ^ujjsvsia, Eur. Ph. 298. So in Latin, oper(B for operarii, Tac. Hist. i. 2. Y. 599. Wliether the Homeric irdj'yx) occurs in any other passage of the Tragic writers, I know not. Y. 638. Instances of a double comparative occur in ^sch. S. c. Th. 670. Suppl. 287. Soph. Antig. 1210. Eur. Hec. 381. Hipp. 486. Y. 670. The particle 7^, I think, never follows the interrogative tLs, Y. 701. Iloks/jLap-)(09, not Ilo\£[jbdp')(as. That the Attics terminated compounds of this kind by 'xps may be inferred from the circum- stance that their proper names were '''l7r7ra|0;)^os'5 Nsap'^09, KXs- ap)(09. Y. 828. In the Attic poets probably /jlsXsoi, in the vocative is always a dissyllable, as /llsXs in the singular. Y. 945. Jlpdjos is a more tragic word than Trpajfjua. Gl. 2. blomfield's canons and eemaeks. 219 Words compounded of poOos were favourites with ^schylus, as TToXvppoOo^, ra'^vppoOos, sirlppoOos, cCklppoOos, 7raXlppo6o9, &c. Gl. 7. From oi/uLOL is derived oI/jlco^o), as from /iiv, jjlv^o) ; from m, wfco; [from at at, aldl^co ; from ot ot, ot^o) ; from sXsXsv, sXsXl^co ; from OTOTOi, oTOTv^co \ froiii av, avco and aiirsco ; from (p£v, (f)£v^co ; from avoL, svd^(o~\. Ol/xcoyr] is more frequently used than oifjbwyfjia. Gl. 8. When iXXsLTTco signifies deficio, absum, it requires a geni- tive; when it signifies omitto, it is followed by an accusative. Gl. 10. Uvpyco/iia is a fortification or a collection of TrvpyoL : just as ')(aiT(oiJia and rpl'^co/jLa are a collection of yalraL and rpl'^^ss. Gl. 30. UavooXsOpoc has both an active and a passive signification. Gl. 71. The tragic writers use both Xabs and its Attic form Xscos. Gl. 80. AvKSios, an epithet of Apollo, is derived from Xvkt], dihiculum, whence the Latin lux. Gl. 133. From the obsolete verb Xi'^kw are derived the perfect XiXdKa and the second aor. sXclkov. Gl. 141. ^pi6(D sometimes, though rarely, has an active signification, " to load." It is more generally used intransitively, "to be heavy." Gl. 141. The tragic writers frequently used nouns in as, as XtOds, a heap or shower of stones ; vtipds, a shower of snow ; ^vXXds, a heap of leaves, &c. Gl. 146. ^Tsyco, sustineo, non admitto ; is properly said of a ship which is water-tight. Gl. 202. "Y^K7]Kos is formed from the obsolete verb zkw, volo, whence EKcov ', as from acydco or criyco, criyrjXos', from ala'^vpco, ala^vvrrj' Xos ; from vyfrco, vyjrrjXos ; from ^s/3dco^ ^s^ijXos. Gl. 224. ^iTsp')(y6s, swift, is formed from cnrsp')(w, as Tspirvos from TspTTCt); arvyvos from arvyay, Xc^vos from Xel')((D, crrpvcpvos from arpvcfico. Gl. 271. Xalvsiv is said of a dog who wags his tail and fawns : thence, to flatter. Gl. 379. The penvdt. of dXvco is short in Homer, and long in other Greek poets. In the Odyssey, I. 398. dXvcov has the penult long, which Avould lead to the supposition that the passage where it occurs was not Homer's, though it is quoted by an old grammarian in Eustath. II. Z. p. 654, 655. Gl. 387. The Greeks used Savarrjcpopos, Xafjuirahr^c^opos, ^sa^arrjXoyos, ')(^0ovLrj(f)6pos, and the like, instead of ^avarocfyopos, &c., to avoid the concurrence of four short syllables. Gl. 415. 220 blomfield's canons and remarks. "^H f.Lr]v, certe, is a formula of confirmation, used in case of an oath. Gl. 527. Ss(Tj 'x^plp^a ; from kovlco, Kovlfxa ; from fjbr]vl(o, fjLr]vlfu,a. V. 93. Adjectives compounded of the dative Sopl, or Bovpl, retained the iota in composition, as hopLKTi^ros, SovpcdXcoTos, SoplXyTrros, Sovpt7rsT7]9, 8opLfjiavr]s, SopcOrjparos, Sopi/xapyos. But those which are formed from the accusative retain the v, as hopv^opos, Bopvcraoos, Bopv^oos, hopvKpavos. V. 115. Diminutives of animals terminate in thsvs. Y. 117. ToLovTov and roaovrov are the Attic forms of the neuter gender ; tolovto and Toaovro the Ionic. V. 306. The Attics said hiaicovslv rather than Bitjkovslv. V. 310. Eu crs(3£iv Bsovs, and svas/Sslv eh Movs differ : the former sig- nifies, duly to worship the gods; the latter, to conduct oneself BLOMFIELDS CANONS AND EEMARKS. 221 piously towards the gods : the latter cannot have an accusative after it except with a preposition. V. 329. The Attics used aklaKo/juaL in the present, and adopted the other tenses from aX6(o, whence also avaXoco. Wherefore the optative should be written oXmtjv, as /Stojrjv, Scorjv, and the like : aXoLTjv is Homeric : II. X. 253. iXoifjil ksv tj ksv aKoir\v. Y. 331. "Ottcos" av docs not precede the optative, except in the sense of quo maxime modo. When oirois signifies ut, it requires the subjunctive with, or the optative without av. V. 357. "Hrot is not used by the tragic writers for sane, unless fol- lowed by apa or av. V. 462. In solemn appeals, such as Hom. IL E. 116. Et iroTE fioL Kai irarpl cf)l\a (ppovsovcra Trapscrrrjs Ar)i(p sv TToXe/xft), vvv avr ifis (plXai, ^AOtjvt] — El' TTOTS is more frequently used than sc ttov. Y. 503. Apoaoc Kars'^sKa^ov, s/jLttsBov alvos ^lEiadij/ndrcov, 'TlOsvtss svOrjpov Tpiya. Here the young scholar will remark that the mascidine par- ticiple tlOsvtss agrees with the feminine noun Spoaot ; of which anomaly perhaps no other instance can be found in the Attic poets, except in the case of animals. Y. 544. Ila)9 av with the optative frequently signifies zitinam in Euripides, much more rarely in the other tragic writers, perhaps never in ^schylus. Y. 605. Tap is frequently used in interrogative sentences. Y. 613. Those who are buried are said yijv sTnivvvcrOai. Theogn. 420. Kat KslaOat iroXXrjv yacav £(psaadfjLsvov. Y. 845. Atal, cLTral, and vrral, occur in the Greek poets for the more common forms Bia, cltto, and vtto. Y. 865. %vpalos is said of a person even in the feminine gender: ^vpala of a thing in the same gender. Y. 1022. Ilp6(T(f)ay/LLa, not Trpocrcrcjia'yfia. In such compounds a was not doubled ; it was so only for the sake of distinction ; as irpoo-aTrjvat from TTpocriaTrjixt, to distinguish it from TrpoarrjvaL from TrpotarrjfjLC. Ts6vr)^o/ji6v : on this fut. see Dawes, M. Cr. p. 94. Yerbs of this kind, from preterites of the more simple form, occur more rarely in Attic writers. The penult, of ttXtjOvco is short; of ttXtjOvvco, long. Y. 1341. '' Ottol is quo7iam, ivliither ; oTra, qnanam, loldch way : iry is the dative of the obsolete pronoun ttos", as fj from 6s, and agrees with cSft) understood : ttoI is the dative of the same pronoun, in the masc. gender. So in Lat. quo, qua. 222 blomfield's canons and remarks. The primary meaning of hUrj was probably likeness, similitude : whence SlktjXov, an image; and hlKrjv, for Kara SUtjv, instar, like. Gl. 3. BoOs" sttI y\(0(Tar} is a well-known proverb, and said of those who being bribed do not mention those things they ought to disclose, and then applied to others who through fear or dread of punishment dare not speak out freely. The origin of the proverb may probably have been derived from the custom amono; the ancients of holdino; in their mouth the coins which they received from the sale of their wares. A similar phrase occurs, CE. C. 1051. '^(pvcrsa kXsIs ettI jXcoorcra jSs^aKSv, Gl. 35. According as friendship, hospitality, an oath, [supplication,] companionship, or purification, was referred to, Jupiter was in- voked by the title of C rj are used at the head of interrogative sen- tences. Y. 762. Tlie tragic writers always used ttvXt] in the plural. Y. 866. BLOM field's canons AND REMARKS. 225 ^IXrar AlyiaOov jSla. This is the only instance of the cir- cumlociition, ^la tlvos, joined with an adjective masculine. [Most probably a comma should be placed after ^IXrar, and then there will be no necessity to have recourse to the crxv/^^ 7rpo9 TO y')(os, the grasping of the spear to decide a dispute, was the same as the proof hy battle with the Teutonic nations, and hence it signified any proof; and, by an easy transition, it denoted argument, reproof, insult. GL 838. Of words ending in o-rspr]^, some have a passive signification, as 7rarpoaT£pr)9, ofjbfiaTOcrTspr]^, l3LoaTsp7]9, rfkiO(TTsprj9 ; and some an active, as dpyvpo(7Tsp'r]9, 6fi/uLaToaT£p7]9 (Eum, 938.), rfKLoarsprjs (CEd. C. 314.). Gl. 989. and 247. CANONS AND EEMARKS. BY PROFESSOR MONK. From the Classical Journal, vol. xxxvii. p. 124. HIPPOLYTUS. KsKXrjfjLac is frequently used by the tragic [and other] writers in the sense of slfjuL Y. 2. Upaa^svo) sometimes signifies irpoTifjidw^ to honour or resj)ect. So Choeph. 486. rovhz irpsa/Ssvcra) rdcfiov. V. 5. %ricr£ws iralsi ^A/jbd^ovos tokos: this pleonasm, where in prose we should have said %rias(os kol 'A/bLd^ovo9 nrah or tokos, is not uncommon. See Dr. Bloomfield's note P. V. 140. V. 10. TlalhsviJLa, as also Xo^sviia^ [xlai^jjua, and other words of the monk's canons and remarks. 227 same class, are used for persons. Moreover, the plural form iraihevfjiaTa denotes only one individual, sc. Hippolytus, as in Soph. Philoct. 86. T£')(yr']iJLaTa, one cup: Hec. 269. 7rpoaos a>v, XctOl SuaTroTfios ysycos. See Tracli. 741. Soph. Electr. 1200. Y. 304. The Tragic writers used the double forms, Xiririos and lttttslos, Bov\i09 and BovXsios, Ba/c^ios* and Ba/c^sios", irapOsvios and irap- eiusLos. y. 307. 1297. "Epos- and ^5X09 are the iEolic forms of the words "Epcos and ysXco9. The former is frequently used by Homer, (but only in the nominative and accusative cases,) and by Euripides five times ; in other Attic writers it is doubtful whether spos occurs at aU. Y. 337. Tt Tracr^sts" ; is an interrogation used by the Attic writers in the sense of the English exclamation, ivhat ails you ? Y. 340. The verb avsyBcrQai is often joined to a participle, as jNIwt/s' yap, olha^ aov kXvwv dvEgsrai. Pers. 835. See also Med. 38. Aj. El. 411. Soph. Electr. 1028. and Yalck. Phoen. 550. Y.354. 'AXV 6/jLcos are words frequently employed by Euripides at the end of an Iambic senary, and often ridiculed by Aristophanes. Y. 358. The Greeks said Trplv as Bavclv^ and Trplp av crv Bavfjs, but not irplv av as Savslv. Y. 365. In Attic Greek, instead of the dual feminine, the masculine is used, especially in articles and participles. See Hom. IL ©. 455. Y. 389. The particle coy at the beginning of a sentence preceding an optative mood signifies, utinam, I wish, or, O that ! See II. S. 107. Y. 409. ^avXo9, fjbdraLos. opc^avos, arsppo^i ysvvalos, hiKaios, /jlsXso9, ^pv-^Los, and some other adjectives, are declined, 6 Kal t) daijXos, &c.; and also ^aOXos", t), ov. Y. 437. The interposition of the words ttcos' BoKsh ; gives additional spu'it to a narrative. See Hec. 1150. Ran. 53. Eccles. 399. Y. 448. ^TspjstVf in the sense of acquiescing, is frequently found — for the most part w4th an accusative, sometimes with a dative case. Y. 460. "AvOpcoTTos is used sometimes to denote a icoman. See Theocr. Adoniaz. 106. and Yalckenaer's note. Homo in Latin has the same meaning. Y. 474. Examples of (1.) the double comparative, such as fiaXXov dXylcov, and (2.) of the double superlative, such as fjusyto-rov E-)(6LaT09, are frequent in the Tragic writers. See E[ec. 381. Sept. Theb. 679. .Esch. SuppL 287. Med. 1320. Alcest. 802. Y. 487. The forms eKXjjaa, KXfjSss, KXyOpov, for sKXsio-a, kXslBs9, KXslOpov, are of the more recent Attic, and introduced into the writings of the tragedians by grammarians. Y. 500. Q 3 230 monk's canons and remarks. A short vowel at the end of a preposition, preceding another word commencing with the letters cj)p, remains short ; but if that other word begins with ^, the short vowel is made long. V. 513. The prepositive article o, rj, to, is frequently put for the re- lative 09, 7], o, not only in Homer, but in the writings of the Tragedians. V. 527. IIm\o9 was said by the Greeks of either a young unmarried man or woman. [The same remark applies to aKVjjivos, /ji6a')(^09, and other names of the young of animals.] V. 547. The participle of the present tense [as also the present tense itself] denotes the attempt to effect the action contained in the verb. y. 592. In solemn adjurations and appeals, such as c5 Trpos as yovdraw, the pronoun is always placed between the preposition and the noun Avhich it governs ; and the verb on wdiich the pronoun de- j)ends, dvTo/jiat, iKvov/LiaL, Ikstsvoj, or some similar word, is fre- quently omitted. V. 603. VafjijBpos seems to denote any relation by marriage ; but in the Tragic writers it generally signifies a son-in-law. Y. 631. When the Greeks wished to express any thing future, on which something else was contingent, then they prefixed the conjunctions, 'iva, ws, ocj^pa, &c. to the preterimperfect, aorists, or preterpluperfect tenses of the indicative mood, just as the case required. This construction must be carefully distinguished from the usage of o)9, iva, &c. with the subjunctive and optative moods. They could say, 'yprj TrpocnroXov ov irspav — iV £')(^coac fjbTjTS . . . i. e. that they may be able neither — . They could say, ovK si(DV TrpoaTToXov irspav, — 7v s^olsv jjui^ts ... i. e. that they might be able neither — . But it is a very diiFerent thing to say, 'XpW 'TTpocTTroXov ov TTSpav — Lv sl')(^ov /jL')]ts ... in which case they rvould be able neither—. See [Soph. Eh 1123.] OE. E. 1386. 1391. P. V. 158. 774. Choeph. 193. Iph. T. 354. Pax 135. Eccles. 151. V. 643. "Ey Ts, signifying as long as, is construed Avith an indicative, ss TS av with a subjunctive mood. Y. 655. Ei av no where occurs in the same member of a sentence, much less when joined to the indicative mood. Y. 697. JJoXXa TTpdacrsiv is said of one who meddles with things not concerning him. There is a similar signification in the words 7roXv7rpay/.tcov, TroXvTrpay/jiovsLV, TToXvTrpa'y [xocrvvrj — irsptaad TTpdaasLv. Y. 785. Sscopol were persons who Avent to consult the oracles of the gods on any priA^ate or public affairs. Y. 792. YIltOscos^ yrjpa9 is a periphrastic exj^ression for " the aged Pittheus." In designating persons, the Tragic Avriters [and monk's canons and kemarks. 231 poets generally] frequently employ circumlocutions ; and those chiefly which expressed some dignity or excellence, moral or personal. V. 794. Those who received favourable responses from the oracle at Delphi, used to return home crowned with laurel. See CE. R. 82. y. 806. M.dKi€rT09 is used by the poets for /jLsytaros^ as fjudaacov is for fisil^cov. y. 820. S^sXsL TL cTTj/jirjvac vsov : these euphemisms, in which KaKov is understood, are very frequent imi-the Tragic writers, y. 860. ^aivsLV is said of dogs who wag their tails when they fawn on men. Hence aalvstv and Trpoaaalvsiv signify to fawn on, to please, to flatter, y. 866, lipos in the sense of besides, with tovtols understood, occurs frequently, as well in the Tragic as in other writers. See Heracl. 642. Phoen. 619. 890. P. y. 73. Helen. 965. y. 875. ^AvtXsco and i^avrXso) are properl?/ said of exhausting by means of an avrkos or pump ; and metaphorically, of completing life. In the same sense the Latins used the derivative exantlare. y. 902. Nocrstv, in the Tragic writers, is frequently said of those who labour under any evil, misfortune, or danger, [and may be ren- dered " to be distressed "]. y. 937. }^aiTri\zv(D denotes, to be an innkeeper ; and. thence, to derive gain by fraudulent means. See Dr. Blomf. Sept. Theb. 551. y. 956, 957. Ta cpiXrara is frequently used by Euripides to designate a parent, a husband, a wife, or children ; and in general may be translated, the dearest objects or connexions, y. 969. The Attics form the crasis of 6 avTos, 6 dvrjp, 6 dva^, 6 dycoVf 6 dryados, 6 srspos, by dvrhs, d'vrjp, d'va^, ajcov, &c. y. 1005. "AOiKTos has both(l.) an active and(2.)a passive signification : (1.) Not touching. See CE.'C. 1521. (so also d'^avaros, CE. R. 968.) (2.) Not to be touched; hallowed. See Iph. T. 709. Agam. 380. The same remark will apply to aKXavaro^, dars- vaKT09. y. 1006. OIkslv olfcov or So/jlov in the Tragic writers signifies, to be the master of a house or family, y. 1014. Xalpcov is said of one who is exempt from punishment, and may be rendered, ivith impunity. YiXdoiv is opposed to it, and may, in the second person, be rendered, to your cost. See CE. R. 363. Antig. 759. Med. 399. Androm. 756. y. 1089. The Attics used the Doric form dpaps, not dpyps : as also, besides the instances given by Porson, Orest. 26. (see Class. Journ. No. LXI. p. 137.) they said Mko9, and its compounds; Q 4 232 monk's canons and remarks. ydirovos, yairsrrjs, yaTreSov, yd/jLopos, ya/rroros, ydroixos, Kapavov and its comjDOunds. V. 1093. The futures cj>sv^o/jLaL and (psv^ov/juaL were both used by the Tragic writers. V. 1096. The ellipsis of the preposition avv is very common with the Greek writers, and especially when the dative of the pronoun avT09 is added. See II. 6. 24. A. 698. T. 481. V. 1184. The ^olic and Doric form sKpv(f)6£y for sKpixpOrjaav is very rarely used by the Tragic writers. V. 1242. X^pscbv in the sense of fate or necessity is indeclinable, and always requires the article in Euripides. V. 1251. The erases in the words rj slhsvao and [jlt] slSsvat are not un- common in the Tragic writers ; as also those in rj ov, (jltj ov : the erases fjur) avros, Iph. T. 1010. t) ol'x^oiJbsaO', Soph. Trach. 14. rj evysvsLav, Eur. Electr. 1104. are more unusual. V. 1331. X^alpco sometimes takes after it an accusative of the thing for which the rejoicing takes place ; the figure is called an Oropism. y. 1335. The Greeks frequently use the aorist in a sense little differing from the present, as dirov, Med. 274. vTrstTrov, Eur. Suppl.1170. KarcoKTSipa, Iph. A. 469. cofico^a, Med. 787. dTrsTrrvaa, Hipp. 610'. y. 1403. The present tenses, S^oyydvstv, spuyydvsiv, (f)vyydvsLv, Kiy- ydvziv^ \ay^dvBiv^ Tvy^dvziv, Sd/cvscv (contracted from Say/cd- v£iv\ Xafi/SdvsLv, fxavBdvsiv, TrvvddvsaOac, are derived from the aorist s S^Lyslv, ipvyslv, (pvystv, Ki')(Siv^ Xa^slv, Tvyfiv^ haKslv, XajBsLV, fjuadclv, mrvOscrOai^ by the insertion of the letters v or jjl. To these may be added dvhdvsiv iroiw dhalv. Y. 1442. Kat never forms a crasis with, nor suiFers elision before, i^hi]. y. 1445. The Greeks had four forms of the future with a passive sig- nification, (1.) TLfjLj]ao/iiaL, (2.) ^s/SX/jaofj^ac^ {?>.) fiXrjdrjao jxai, (4.) diraWay 7] a o jbL a c. [racpTJcro/jLai, Ale. 55.'] The 4th form is not very frequent among the Tragic writers. To the 1st form the Attics seem to have been partial : the following occur in the Greek tragedians : Xs^o/juao, TL/jL^ao/j,atj o-rspfjcro/bLai, Kjjpv^ofiai, aXcoao/juai, sacro/jLai, /jLicnjcro/jiai,, (7Tvy7]cro/uiac, SrjXcoao/JLaL, (BovXav- ao/xao, svs^ofj^aCf dp^o/JLat, SiBd^Ofiat, STrird^ofzaL, &c. y. 1458. ALCESTIS. ov 8rj 'x^o\o)6sls] Here svsKa is understood. The cause of hatred is expressed b}^ a genitive case without a preposition. See Crest. 741. Here. F. 528. 1114. II. A. 429. H. 320. $. 457. y.5. I monk's canons and remaeks. 233 An accusative case is frequently placed in apposition with the meaning implied in the preceding sentence; as Orest. 1103. ^RXsvTjv Krdvco/isv, ^IsvsXso) XvTryv iriKpav. See Phoen. 351. Androm. 291. Here. F. 59. 355. 427. V. 7. ' The pre^wsition after verbs of motion to is frequently omitted. Y. 8. After verbs of rescuing, prohibiting, and denying, the ne- gative fjirj, though generally expressed, is sometimes omitted ; as ov SavsLP ippvadfiijv. V. 11. The plural tl/jlol is used in the sense of attributes, preroga- tives. V. 30. The ancient Greek writers never joined the particle av to the indicative mood of either the present or perfect. V. 48. 'Ispos in the sense of consecrated or sacred to, requires a genitive case. Y. 75. In anap^stic verse the penult of fisXaOpov is always short. Y. 77. The interroo'ative ttoOsv has the force of a neo'ative. Y. 95. In sentences where two nouns joined by a copulative are go- verned by the same preposition, the preposition is frequently found with the latter noun alone : as, MeXXcov Ss TTSfMTTSLV fjb OlSiTTov kXslvos jovos lS/lai>T£la (TS/jbvd, Ao^lov t sir Ecr')(apas. Phoen. 290. See also Heracl. 755. OE. R. 736. 761. Soph. Electr. 780. Sept. Theb. 1034. Y. 114. The plural forms KOipavot, dvaicrss, /SaaoXsts, rvpavvoi, in the Tragic writers, frequently express oidy one king, or the retinue of one king. Y. 132. There are many active verbs which have then' futures of the middle, and no where of the active form, at least among the Attic writers : thus, clkovco, aipT^v, such as alBocfypoiv, okKicjipcop, criBrjpocppcov, BatSpcov, /Svcrcrocj^pcov, kuvo- p(ov, &c. Y. 678. %eos is frequently said of the sun, and generally without the article. See Orest. 1023. Eur. Suppl. 208. Med. 353. Y. 738. The chorus very rarely quits the stage after its first entrance till the conclusion of the tragedy. A few instances, however, occur where it does. Alcest. 762. Aj. Fl. 814. and Eumen. Y. 762. The form olhas, for the common olaOa, is not very frequent. Y.^796. 'AXXa aov ro /jltj (fypdaai. This construction is expressive of indignation or admiration. See Nub. 818. Aves 5. Kan. 741. Y. 848. The following are instances of verbs transitive governing a genitive case, /xspos tl being understood: Ale. 861. Hec. 614. Herod, iii. 11. Y. 861. Tmv vtto jalas, not jalav : the accusative in such exjoressions is then only used when motion is denoted. Y. 921. Several active verbs are used in a middle sense, the personal pronoun being understood; as piyjrai,, Cycl. 165. KpuTrrovra, Phoen. 1133. fcpvirrovaLv, Soph. El. 826. irdWcov, CE. R. 153. Kar^cTxov, GE. E. 782. Y. 922. The Grreeks said vtfcdv /jud'^^Tjv, vt/cav dywva, vlkclv asOXov. Y. 1048. Et 'yap frequently occurs in an optative signification ; but in elmsley's canons and remarks. 235 this usage there is a clifFerence between the indicative and op- tative moods. Et ^ap slxov means," O that I had ! d yap s^oi/xo, O that I may have ! V. 1091. .The quantity of the enclitic vvv is sometimes long and some- times short both in the Tragic and Comic writers. V. 1096. The ancients were accustomed to attribute heavy reverses of fortune to the envy of the gods. See Pers. 367. Orest. 963. Eur. Suppl. 347. Iph. A. 1049. Herod, iii. 40. V. 1154. ELMSLEY'S CANONS AND EEMAEKS ON SOPH, CED. COL. K.oXcov69sv. " There are three forms of this adverb : KoXo)- voOav, }^o\cov7]6sv, KoXcovfjOsv. The two latter seem contrary to analogy ; but custom has prevailed. Demosthenes (in Mid. p. 535, 9.) mentions Philostratus rbv KoXcovrjOsv." Annot. in Arg. ^o(f)OKXr]9 6 viSovs. " MS. vuBou9. But the diphthong vc cannot stand before the vowel c, nor before a consonant in the same word. Write therefore vtBov9. So vtScov, Aristoph. Yesp. 1547." In Arg. 11. arrjaov fis Ka^tSpvcrov, (hs irvOoiixsOa. All MSS. have 7rvdoifMs6a, which Brunck pronounces a solecism, and corrects to TTvOcofisda. In this he appears to me to be right, although I would not venture to call the common reading a solecism. ^]sch. Suppl. 675. Kal irXy-jOzi X6yos\ All edd. have either dp-)(SL tIs" avrojv, which is ambiguous, or dp'xsi ris avrcov. That we should write rls appears from a similar passage in Eur. Cycl. 119. rivo9 KXvovros; rj SsBrj/jLEvrac Kpdros', Some MSS. have correctly, dp')(SL ris avrwv. But MSS. have no authority in this matter, nor, in deciding between ris and ris^ is any other consideration necessary, than which of the two is better suited to the sense. The line, as it is now read, may be compared with these words in English : How much did you give for it? Or did you get it for nothing ? The point wiU be made clearer by ex- amples, of which the tragic writers supply an abundance. Soph. Aj. 102. TTov aoL rv)(7]s sarrjKSv; t) 7rs(f)svys as; Eur. Hec. 777. svpss Bs iTov viv ; r^ ris ■iivsy/csv vs/cpov ; Or. 1425. ^v 8' rjaOa irov I elmsley's canons and remarks. 237 TTOT ; Tj nrdXai (f)ev'y£i9 (j)6/3(i) ; Plioen. 276. o)?;, tl^ OVT09; y KTviTov (po/Sov/xsda ; Iph. A. 702. tli>09 (so I read for Ssov) 8l86v- T09 ; 7) I3ia ^EOiv XafSoiv; 704 ^/ajJLsl hs irov yrj^ (so I read for TTov VLv); rj Kar olS/jua Truvnov ; Iph. T. 1164. tl rou/cBcBu^av TovTo a ; rj ho^av Xsysis ; Cycl. 117. tlvs9 S' s^ovac yalav ; rj S-7}pa)v 9 vvv 1-17] a(i}aXfj9 ; The construction is the same as in Soph. GEd. T. 543. dlaO' d>9 Trolrjaov ; except that TTOLTjcrov commands, pJ] a(f)aXfJ9 forbids. 80. olSs yap KpLVovai ys | si -y^pj] as pblpLVSLv^ rj TropsvsaOaL irdXLV. All MSS. have rj yjn] as pbipLvsLv. We are indebted to Turnebus alone for st, which Brunck lias tacitly retained. So Soph. Ant. 1216. d6p7]aa6^ — si tov A7/jlovo9 | (j>96yyov o-vvLr]p.\ rj ^solon KXsiTTopiaL. Trach. 1069. d>s slEco adc^a, | si Tovfxov dXysl9 pudX- Xov, 7) KSLV7]9. Eur. Ion. 771. Trplv dv pLdOcopusv — slTavTairpdcr- CrCOV 8£(T7r6T7]9, T7]9 v/jLmv, all will admit ; but whether the interposition of TTpcoTcov requires sttc to be written rather than sttI, I am not quite clear. 87. ra TToXX' skslv 6t s^sxPV i^(^k^(^' The third person singu- lar of the active verb iK')(pdco. Gl. s/jLavrsvsTo. But the verb IxavTsvzG-Oai in Attic Avriters signifies rather to consult than to utter an oracle, 110. ov yap Br) TO 7' dp')(atov hspbas. All MSS. without ex- ception have ToS' dp')(alov 8. But the Aldine reading to y is correct. So in 265. ov ydp Sr] to ys | aco/ju ovBs Tapya tu/jl. Phil. 246. ov yap Br) av y rjcrOa vav^dTrjs, k. t. X. El. 1020. ov yap Sr) /csvov y dypd Xa/Scov. The particle ys is used Avhen the reply is made with greater accuracy than the question demands. See v. 65. Eur. Andr. 914. OP. Ka/cTSiva^, Tj Tis ^vp.(j)opd (J d 'Opsarov. But I doubt whether any one ever said s/jloI (j^pdaat for virsp i/biov Xsysiv. The interpretation, Avhich Brunck has adopted, ut joaucis tcmtum mild verbis opus sit, would require such a reading as this : coctts ^pa^^sa s/jls Sslv (fypdaac. For it would be scarcely allowable to say Bsl jjloi, iroislv, although we use promiscuously hsl jjloi ttoXXmv and Est pus TToXXcov, as I have observed on Med. 552. If Sophocles has put hslaOat for hslv, the dative sfjuol must be accounted for from Eur. Suppl. 594. %v Ssl jjlovov [xol, tovs ^soiis s'^siv, ocroi | BiKrjv cTs/SovTat. But hear Suidas under the word ^/ot; • Xsyovat Ss TTOTS Kol ')(p7]aOaL dvTb Tov Bst. ^spsKpdrrjs Arjpots ' To 8' ovofid ELMSLEY S CANONS AND REMARKS. 243 fxoi KarstTTS, tl as 'y^prjaOac Kokalv. ^Apicrrocpdvrjs ArifjiViais ' 'H Kaphia Ts ri9 ' aXXa rrcos '^(pyjcrOat irotslv ; If ^(^prjcrOaL may be used for xph^ ^"^^^J i^t)t SstaOac for Ssl? 583, 58-i. ra S sv /xscrq), | t] Xrjanv lct^sls, rj St ovBsvos irotsl. Arjaris and /jLvr]aTt9 are similar forms for Xt^^t; and jjuvrjfjn^ : jjLvr)- (TTt9 occurs in Soph. Aj. 523. As regards the construction, supply quod attinet ad, as Qid. T. 717. iraiho9 hs (BXaaras, ov Bcsa^oTJ y/jLspat \ rpus. 587. opa js fji7]v. The particles 7s /jl7]v are thus combined in ^sch. Eum. 51. Eur. Rhes. 196. 284. El. 754. and else- where. We may render them, ho2veve?\ We have a different phraseology in Soph. El. 1242. opa iTT6-' S(opo9, 'K7]cov. The comic writers seem to have retained aa in three words only, Trrijaao), Trriaaco, iTTvaao), and that for the sake of euphony, to avoid the concourse of three t. 690. vsopiai and vlaaopbai have both senses, that of the pre- sent and of the future. 716. svr)psTpi09 TrXdra is similar to KaXXl')(Sipss ojiXsvat, rroSa TvcfiXoTrovv, svTnj^st^ 'ys'ipas, &c. 718, 719. TMV sKaTopbTToScov I N7]priScov dK6Xovdo9. As iu V. 17. TTVKVOlTTSpOi UTjSoVSS ZZZTTUKVal drjhoVSS TTTSpOVaaat, so SKaT6pb7Tohs9 ^rjpfjSss = sKarov ^rjpfjBss 6p')(7}aTpLBs9. In like manner svirars- psuav avXdv in Eur. Hipp. 68. means KaXr]v Trarpcoav avXdv : TrarpoKTovov yspos. Iph. T. 1038. irarpwas iraihoKTovov '^spo^. 726, 727. fcal ydp si yspwv KVpoi, | to rrjaSs ')(aipas ov 'ys'yr^pafcs aOsvos : to rrjahs X'^P^^ aOsvos in the apodosis is opposed to syoi in the protasis, to be understood in the verb Kvpo). Nothing is R 2 244 ELMSLEY S CANONS AND REMARKS. more common in tragic writers than to leave an emphatic word in the protasis to be supplied in the mind. Eur. Hec. 60. ci'ysT opOovcrai T7]v (yvv jjlsv) ofioSovXov, | TpcpdBs^, v/mv, irpoaOs 8' avaaaav. Hipp. 1042. el 'yap av fisv (^ifjios) irals ^(t6\ sycb Bs (705* iraTrjp. Suj^pl. 529. rjfJLVvacrOs TroXs/nLOvs koXoos {fisv v/jlIv), [ al(7')(^p(iys ^ sKSivoisi 700. sktslvov, sktslvovto' Kol TrapTjyyvcov \ Ks\sv(Tfjiov aXXtjXoicn avv TroWfj jBofi ' | Sslps (tovs @7]^aiovs,) dvTspsiBs T0I9 ^^p£^6ai8aL9 Bopv. 731. W IJLTjT OKVSLTS, fMTJT d(f)£LT STTOS KaKOV. '''^Oz^ rcfcrS tO sjxov, which is contained in spir]s of the preceding line : as in Trach. 264. iroKiv | r^z^ YAjpvTziav rovBs yap /jusrairtov : where TovSs refers to ^vpvrov, a name contained in JLvpvrsLav.''''' Vauv. For d(j)£Lr, read d(p7]r\ according to the canon, that /jurj is con- strued with the imperative present, fir] tuttts, not jjur] rvTrrrjs : and with the subjunctive aorist ; dcjiSLT, as an imperative, is not merely a solecism, but a barbarism. 733. TTposTTokiv 8^ £7rL(TTa/jLac \(T6svov(rav 7]Kcov, sIltlv *^WdBo9, juLsya. So in Aj. 487. iyco S' iXsvOspov fjusv i^s(f)vv irarpos, | elirsp Tivos, crOsvovTos kv ifkovTw, ^pvyodv. 741. Xkov: so ivsy/cov, 470. If we are correct in writing s\ov, spov, Xa^ov, TTuOov, &c., it is plain that we ought also to write Ikov and svsyKOv. 743. si /jlt) irXsicrrov dvOpcoTTcov 'i(^vv \ Ka/cicrros'. Every one knows that irXslarov and KdKiaros are to be taken together, as irXalcFTOv i^6laT7]9, Phil. 631. nrXslaTOv rjScarijv, Ale. 793. 748. alKilas. MSS. alKias. The latter word is used by JEsch. Prom. 93. 177. 601. Soph. (Ed. C. 748. El. 487. 511. 515. Eur. Bacch. 1371. Aristoph. Av. 1679. Eccl. 659. In all these passages the middle syllable is either long by necessity, or may be so, without violating the metre. Some nouns in ta 'certainly lengthen the penultima; as aWpla, /caXia, Kovla. But I would not refer alicia to this class. For analogy shows that we ought to write aUsia. All nouns derived from adjectives in rjs have either the diphthong sl, as svas/Ssca, or c short, as dfjuaOla, in the penultima among the Attics. Therefore dsUsia is from dsLKiqs^ aiKua from alKr\s. ^KziKirfv, dXTjOlriv^ dvaiSLrjv, are Ho- meric forms, in which the penultima is long, but by necessity alone. 751. Observe that rrfXiKovTos is used for rriXiKavTrj. So Electr. 614. Clytemnestra says of her daughter, Kal ravra rrjXt- KOVTOS. 765,766. wpoaOsv TS ydp fjus toIctlv oIkslols KaKots \ voaovvO' . Tlie accusative fjus depends on opchv understood. See note on Aj. 136. (TS fjLSV £v TTpdacrovr STrc^alpco. 790. ')(6ovos Xay/lv toctovto y, svOavslv /jlovov. Read toctol'toi^ sv6. The tragic writers do not use roaovro or rocovro. elmsley's canons and re^iarks. 245 805. aWa Xv/JLa tu) yrjpa rpscfysi ; rpscfisadaL signifies to be, as rps(j)£Lv, especially in Sophocles, to have. 820. o'lfMot. KP. Ta^' s^scs /jloXXov olfjLco^stv rdSs. MSS. have wfjiot. This line, as well as others, has led me to the opinion which I haye stated on Soph. Aj. 900. (Mus. Crit. t. i. p. 471.) that the Homeric form co/xot must be changed in the tragic writers into the Attic ol/jLoi. 885, 886. /jLoXsts aijv tcl^sl, pLoXsr * sttsI irspav | TrspcoaL 8?;. All MSS. have irspav, as in ^sch. Ag. 198. 1209. Soph. OEd. C. 885. Ant. 334. Eur. HijDp. 1053. Ale. 588. Suppl. 676. Here. F. 386. In Ag. 198. l^aXKcSos irspav £%&)v | iraXtppoOoLS sv XvXihos Toirois, irspav signifies on the opposite side, and is right. But in the other passage of ^schylus, where the words irovrov irspav Tpa(f)SLaav ought to be rendered bj^ed beyond sea, I consi- der that iTspa should be written. In Eur. Hipj). 1053. irspav 7s irovTov Kal Toiraw 'ArXavTiKMV is the common reading ; but in my opinion, that in Here. 234. is more correct, war 'ArXavrcKcov irspa I (psvyscv opcov av SsiXia Tovpiov hopv. In this sense {beyond) I think iTspa ought always to be written. 897. ovK ovv. All impressions have ovkovv, wdiich I have altered in every instance into ovk. ovv. 911. sirsl hshpaKas ovr spuov Kara^icos. I should prefer /cara- ^la. The same A^ariation occurs in El. 800. where most copies read Kara^lcos, but some Kard^ta. 924. OVK ovv sycoy av, o-fjs sirsjji^aivwv ')(6ovos. May we not read arjs av sirijSaLVcov '^(^Oovos? Eur. Or. 350. t] /ult) ^irl^acvs ^irapTLaTiSos ')(dovo's. Instances are not rare of the particle av being doubled, with the interposition of a single word. So OEd. T. 339. Tis yap rotavr av ovk av opyl^oLT sirrj ; 862. ovBsv yap av irpd^atfju av, o)V ov ao\ (piXov. 927, 928. aXV rjiriardiiiqv | ^svov irap darols 6)s hiaiTaaOai ')(ps(t)v. Aldus and MSS. ^slvov; but this form the tragic writers appear to use only for the sake of the metre. 935. /3i'a Ts Kovy^ skoov. The conjunction (rs) seems as much out of place here as in 808. %«/ots' to t slirslv iroXXd Kal rb KalpLa. But in Sophocles, GEd. T. 1275. we find iroXXdKLs rs Kov)(^ dira^, and in El. 885. i^ sfxov rs kovk dXXov. 942. ovBsL9 iroT avTOVs tmv s/jlcov av spurscroL | ^rjXos ^vval/jLoyv. So all MSS. but one (Laur. B.) which has avroh. The latter construction is undoubtedly more common, but the former not to be hastily rejected. Eur. Iph. A. 808. ovrco Bslvos' spursirTWK spws I TTJcrSs arpaTslas 'KXXdS", ovk avsv Sscov. If this is the correct reading, who would not prefer to take ^EXXaS* for the accusative rather than the dative ? There are many verbs which govern both cases. Eur. Hec. 583. hsivov re irrj/na Tlpca- R 3 246 ELMSLEY S CANONS AND REMARKS. fjblhais sTTs^scrs | ttoXsc rs rrjixfj. Ipli. T. 987. hBivr) ris opyrj Bat" /jbovcop sTTs^sas I TO TavraXsLov aTrspfia. 947. "Ap£09. It is now agreed that this form is used only for the sake of the metre, as 7r6\so9, v^psos, &c. 964, 965. BsoL9 yap r]v ovtco (plXov \ ra^' dv tl jJn^VLOvaiv zls ysvos TToXai. Ought we to read Td')l ovv? Soph. Phil. 305. rd^ ovv Tis ci/ccov scT'^s. Eur. Hec. 1247. Ta-)^ ovv Trap vfuv pahiov ^svoKTovslv. Iph^T. 7 S2. rd^ ovv spcoTcov a sl^ aTTiar dcpL^o/iiat. '^Az^ and ovv are confounded in 980. 977. iTMS y av TO 7 aKov nrpdypH av sIkotcos "^^rsyoLS ; ReadTrw^ av Toy a/cov irp. The particle ys has no place in an interroga- tive sentence. See my note on Eur. Med. 1334. 1015. d^iai 8' d/jLvvdOsiv. So all MSS., and in like manner SLKddsLv, 1170. 1378. irapsiKdOsLV, 1334. I have changed the accentuation of these infinitives ; they are aorists, as I have shown on Eur. Med. 186. ; the present d/juvvdOco exists nowhere but among grammarians. The juxtaposition of inOsaOai, koL irapsLKaOslv, 1334. is an argument that both infinitives are of the same kind. Sophocles rarely expresses himself as Eurip. Andr. 413. acj^d^siv, (povavsiv, Sslv, diraprriaai hsprjv. 1021. JV Si fjbsv sv ToiTOKJi Tolas' ^X^is 'Yds Tralhas rjfiMV, avTos sKhzi^rjs s/jloL Theseus could not properly say of the daughters of Q^dipus, Tas Tralhas rjficov : read, therefore, rjfiiv, and connect it with s^sc9. Similarly /SsjStjksv tj/uliv, 81. av 8' rj/bilv sktjXos avTov fjLLfjivs, 1038. See (Ed. T. 631. El. 1332. 1023, 1024. ov9 ov jJuqiroTa \ ')(d>pas (pvyovTSs TrjaS^ s7r£V')(covTac SsoLS. ''Fjirsv^sadac means to return thanks, as sv')(sa6ai in Eur. EL 761. dWd Ssotatv zv)(£a6at ■^(pscov. In favour of the imper- fect subjunctive iTrsvxoyvTaL we have Xen. Anab. ii. 2. 12. ovk STC /JLT) hvvTjTai /SaaiXsvs rjjjbds /caTaXa^stv : Hier. 11. 15. ov jjut) aoL SvvcovTat dvTs^sLV ol ttoXs/jLlol. But examples of this kind are very rare. Therefore sTrsv^covTao appears to me alone ad- missible. 1044. Saccov s7naTpovo/iaafMsvo9 \ UvXdSrj!} XsXsKrac; 1047. ravrov X^polv croL Xs^STUL /j.taa/jb s^wz^. Hel. 1082. drdp Bavovra rod fM spsh TTSTTva-fMSPT] ; with the addition of a)9, JEsch. Ag. 681. Xsyovcriv -rj/iids cos* oXcoXoras : where Blomfield lias given more examples. 1598. rjvcoysi,: this preterite does not occur elsewhere in the tragic writers. 1605, 1606. KOVKrjv ST ovSsv dpybv mv s^Urai, \ '' KTVirriaz jjlsv Zzv9. I have changed the reading of all MSS. icplsTo into icpLsrai, that the first syllable of the next word i/crvTrrjcrs mioht be correctly elided. It makes no difference to the sense. Trach. 769. iBpcos dvfja 'XpcDTt, kol irpocnrrvaasTai | irXsvpala-LV dprl- K0XX09, wars TS/CT0V09, | ^trcov dirav Kar dpOpov. Eur. Ale. 181. Kvval hs irpoaTTiTvovaa' irdv Bs Bsfiviov 6(f>6aXjjLOTsjfcr(o Bsus- rai TrXrjfifivplBL. 1606, 1607. alBsTrapOsvoL \^ppl9 tJkov- aav ; but in imitation of Homer he has introduced pcyrjaav, a word which does not occur in any other passage of the Attic writers. Grammarians improperly confound the Homeric sppiya, horreo, with the common, piyw,frigeo. The aorist of the latter is sppiywaa, whence hspplywaa, Aristoph. Pint. 847. But Brunck has 'piyrjaav. which is wrong. Unless plyrjcrav be written, as generally, p ought to be doubled. 1622. ovB' ST oopcopso jSorj. ^sch. Ag. 662. sv vvktI Bvctkv- fiavTa S' copcopsi Ka/cd. These are the only 2:)assages in which opcopa is read among Attic writers ; of the same form are dpapa, oBcoSa, oXcoXa, oirodira. 1666. ovK dv Traps ifjL7]v olcn /x?) Bokm cf)povsLV. Understand s/csLvcov: for Trapls/xat governs the genitive. Phrynichus (np. Bekker. p. 53.) OvBsv aov wapUpbai' ovhsv irapaiTovp.aL, ovBsv diroTpsTTOfjiaL. The meaning of TrapiSfjiai is veniam peto. Plato, Apol. Socr. p. 17. C. KOl fJLSVTOL KOL TTaVV, CO dvBps9 ^Ad7]valo[,, TovTo vpLcdv Ssofiat Kol TTapispLaL. The sense therefore of the words, OVK dv irapsl[ji7]v olai //-?) Sokcj (f)povsLV is, non tanti eos facio, quibus male sajjere videor, ut eorum veniam impetrare cupiam. This I have noticed on Eur. Med. 892. irapispisaday KOL (pa/jLsv KaKOiS (ppovstv. 1673. Stivc top ttoXvv | oXXots julsv ttovov spuirsBov Si')(oixsv. "Otov and otw are more Attic than ovtlvo? and Stivc. Yet ex- amples of the latter are not wanting, ^sch. Ag. 1367. ovfc dlha /3ovXrJ9 t^cttlvos tv-^cov Xsyco. Eur. Hipp. 903. to jjlsvtol TTpd.y\x^ icj) ayTLVL aTsvsL9, \ ov/c olSa, Aristoph. Pac. 1278. au yap sItts /jlol^ otaTLai '^alpsis. 1697. iTodos Kal KUKOiv dp tjv tls, ^Hv is constantly used for 252 elmsley's canons and remarks. the present sari, especially when accompanied with the particle dpa. So above 118. "Opa. tls dp'' rjv\ irov vaist; 1701. ZLfJbsvos for rj/jL(f)LS(Tfispo9c Eur. Tro. 496. rpv^rjpd irapl rpvxvp^T^ £^/^svr]v XP^^ I '^^ttXcov XaKLcr/uuaT. It is not read else- where in tragic writers. 1704. XO. sTTpa^sv ; AN. s^iirpa^sv olov r^OsXs. In using the compound s^sirpa^sv after the simple sirpa^sv, Sophocles has done nothing unusual. So Eurip. Iph. T. 984. ctmctov irarpcpov ol/cov, sKacocrov S* s/xs. Tro. 892. alpsc yap o/jL/jLar dvSpo9, s^ac- psl irokscs. 1732. dra^os sirirys. On this line I have observed (Med. 53.) that siTiTvs is the preterimperfect tense. Hermann (Class. Journ. t. xix. p. 285.) answers, "that this is a gratuitous assumption on my part, for that the aorist is required." I am not such a novice in these matters, as to suppose that the aorist is foreign to the sense of this passage ; nor can Hermann be ig- norant that in the Greek poets nothing is more frequent than the imperfect in the sense of the aorist. Therefore it does not depend on the sense, whether sirnvs be the imperfect or aorist. Why I have stated it to be the imperfect, I will now explain. Whether ttItvco or irtrvw be written, all admit that the penulti- mate letter of this verb is not radical, as we say in Hebrew, but servile. For the root is sttstov, cecidi, which custom has changed into sTTScrop. Hence the derivatives yairsTTj?, yovvirBTrjs, SuttsttJs, SopL7rsTi]9, and the like. The same servile letter is found in 8d/cvco, Kufjuvco, TSfJLVco, LKVovfJuai, uTTLo-'^vov/xaL, whose aorists sSaKov, sKaiJbov, sTSjjbov, LKo/jLTjv, v7rsa'yoiii7]v, all discard the servile letter. "ETTirmv therefore, if any thing is due to analogy, cannot be an aorist. But if it be the preterimperfect, great weight is added to my surmise, which I have stated on Med. 53., that there is no circumflexed verb irtrvM. 1740. cr(f>Qjv. Hermann would read ct^mlv, but this dissyllable seems to be without example in Attic writers. 1742. 0770)9 pLoXovjjbsO' £s S6fjL0V9 | ov/c s)(co. The future infin. fjLoXsLcrdao is used by ^sch. Prom. 689. The verb fjuoXcj, which has no existence, is of frequent occurrence in MSS. by the error of transcribers. 1751. TravsTs ^prjvov. In some MSS. Sp7]vcov. In Euripides indeed, Hel. 1335., is read Apofiatcov S' ors iroXvTrXav^rcov | /xd- T7]v siravas ttovcov. But examples of this kind are very rare in the Attics. Euripides is more constant with the common idiom, Andr. 1271. it aver at 3s Xvirrjs tmv tsOvtikotcov vTTsp : 1277. Travco ha XvTTrjv, o'ov KsXsvcravT09, S^sd. 1766. ravT ovv IekXvs Saificov rj/jucov. Most MSS. skXvs. Rice. sicXvsv, which I have adopted. I have noticed on Med. 105 J. and again on Q5d. T. 1301. that anapaestic dipodias of this form DAWES S CANONS. 253 (v^w — vv) and ( — ww) are rare in Sophocles and Euripides. The former indeed (QEd. C. 146.) has said, AtjXm S'. ov yap av ojK aXkoTplois: 1773. Apaaco kol rdSs, koX jravd' oiroa av. Ant. 129. 7roWa> psvfiaTi Trpocrvcacro/jLsvous. Trach. 1272. Xslttov /jltjSs av, 7rap6sv\ sir oi/ccov. PhiL 1463. So^rjs ovttots rtjaS' £7rt/3dv- Tss. But in El. 96. for c^olvlos "Aprjs ovk e^slvlcts, Brunck has rightly s^sviasv. CANONS FROM DAWES'S MISCELLANEA CEITICA. " The usage of Greek writers forbids the junction of the par- ticle av with the verb TrsplocBs.^^ P. v. (ed. Ividd.) " The particle dv giving the idea of a contingent or con- ditional event, goes with the past tenses only of the indicative mood ; out of which number irspLoihs is excluded, as being strictly what Clarke (II. A. 37.) calls the present perfect tense." — Tate. " The future drroXavasLv does not exist ; for the future middle omoXavazaQai is the only form ; yet, although the aorist active dirsXavaa may be met with constantly, the middle dirsXav- adfMTjv is no where found. Similarly from the verbs aSco, dKovcj, the futui'es ao-o/iat, aKovaofjiaL are in use ; not so rjo-afxriv and '^Kovdd/jLTjv. So with other verbs." P. vi. " MdWov dv icroifi7]v is an expression unknown to Greek Avriters. It is equally wrong to join the future optative to the particle dv, as to use it in the expression of a wish." (P. ix.) [In the latter case, the first or second aorist optative should be used.] " Incipe si dicas et scire aut scribere jungas, Creticus efficitur : This canon of Terentianus Maurus I recommend to be care- fully inculcated upon scholars. This nicety, however, did not obtain among the Latins until after the time of Lucretius. The line of Virgil, ^n.xi. 309. ^ Ponite; spes sibi quisque ; sed haec qnam angusta videtis : ' may perhaps be defended ; but there probably we should read : Ponite ; quisque sibi spes, sed quam angusta videtis. In Yirg. ^n. ix. 37. we find the syllable lengthened before sc : Ferte citi ferrum : date tela : scandite muros. 254 DAWES'S CANONS. So Juv. viii. 107. Occulta spolla et plures de pace triumphos. Catiill. Ixi. 186. Nulla fugse ratio ; nulla spes : omnia muta. TibuU. i. 5, 28. Pro segete spicas, pro grege ferre dapem. Proper t. iii. 2, 46. Jura dare statuas inter et anna Mari." P. 2 — 26. " Dimeters of every kind run on in a continued verse by avvdipsta, until tliey come to the catalectic verse, with wbicli every system closes. This discovery in anapasstic verse which Bentley claims (Hor. Carm. iii. 12, 6.) is due to Terentianus Maurus. I am the first to remark that the avvdcpsLa belongs equally to iambic and trochaic dimeters." P. 57. " The word d\t9 is not once construed with the genitive in Homer." P. 73. " The first syllable of the word vibs is short more than once in Homer: {e, ff. II. A. 473. Od. ©. 476.) P. 77. '' The verb rJKco answers in meaning to the Latin veni, aclsum, not veyiio. Of this the first line of the Hecuba is an example : '^H/cco vsKpMV K£v6/jL0)va Kol (TKOTOV iTvkas Alttwv '. uot, / am coming, venio : but I am here.'''' P. 78. " The middle verb XiirsaOai does not admit an accus. after it ; nor does it ever signify {relinquere) to leave, in common with the act. \iitzIv. I see that it is so understood in several places by interpreters of Homer ; but they are wrong every- where." P. 89. " The future dpioyiai among the lonians and ^olians an- swered to the Attic dpov\xai, as (jyavso/jbaL, ^avsoixai, &c. to i^avovjjbai, Savov/jbai, &c. The force of dpov/jiac will be shown by the following passages of Sophocles: GEd. T. 1247. (1224.) I sp'y aKovcrsao , oua o SLao-^sau , ocrov o dpslaOs iTsvOos ! GEd. C. 471. (459.) rfjhs jJLEv TToXu fJLS'yav '^WTYjp dpSLCrOs, T0L9 8' £/Uioh E^dpOL9 ITOVOVS. The theme of this future may be thus inferred. Of Bslkvv/jlc and dyvvfjbi the futures are analogous to those of SsUco and dyco ; also of the middles hsUvvjjiai and d'yvvixai to those of SsiKo/jLac and dyo/jbai : therefore the futures of these verbs are Bsl^co, d^co ; hsi^ofxai, d^ofjuai. In like manner apw/juac ought to form the same future as dpofiat, which among the Attics would be no other than dpovfjuai, whose place, as we have just stated, is sup- plied among the lonians and JEolians by dp'sofjuai. From the DAWES'S CANONS. 255 same source we read dprjrai in Horn. II. xli. 435. — Iva iraialv astfcsa jjLiaOov dprjrai. Observe that apsofiac fjnaOov should be rendered consequar s. reportaho mercedern, not cligo mercedem.^'' P. 44. " As an instance of the virtue of accents in distinouishino; Avords, a certain grammarian brings forward rvTroifit as the second future optative, rviroLfMi as the second aorist. But I undertake to assert that the second future, whetlier active or middle, does not exist in the Greek lano'uao-e. Tvttco is nothino: but the aor. subjunctive, TV7roL/.u the aor. opt. Tvirov/juaLf TVTTslaOai, Tvirovfisvos, and the like, exist only in the writings and brains of grammarians. The difference of futures in the Ionic and Attic dialects seems to have given rise to these fancies. Their nature and analogy I will explain. The Ionic futures, from wliich the Attic differ, terminate the active form in aaco, saco, sco, laco, and oaco ; the middle in aaofxai, scrofxat, so/jLat, Lcrojbuai, and ocro/iiaL The difference, however, which I am about to state, takes place only after a short syllable, except in Icro) and laofiat. For dao), saw, sco, and oaco, the Attics write CO : for acrojiai, Mixai : for saofiaL, sofxai, and oaofiatf ovfiat ; for lo-Q) and laofjiai, cm and tovfiat. For instance ; for the Ionic futures, skdaco, aropscrco, (pavsco, dpocrto, the Attics wrote iXo), aropco, (pavo), dpoy ; for K6\d(T0\xai, KoXoifiai ; for KoXsao/mai,, cfyavso/juat, 6/x6ao/jiaL, KoXovfiai, (pavovfiai, ofjLovjJbaL ; lastly, for ^acravLcrco and dycovlo-o/jLai, (BaaavLOi and d'ywvioviJiat. The Ionic KaOsao/jLat, the Athenians wrote in a singular form fcaOs- Sovfiac. But 'yoprdaco, alvscrci), dp/jLoaco, dpirdcro/jLai, alhsaop.at, dpjjLocroixai were common to both races." P. 115. " Having now stated the analogy of the futures which obtain in different dialects, let us consider, in the next place, whether we can conjecture on what principle the Attic race departed so widely from the Ionic in forming the futures of verbs. On this point I will briefly state my opinion. The lonians were partial to the dactyl or heroic metre ; the Athenians, on the contrary, to the iambic or trochaic. To the former we see that the Ionic futures, to the latter the Attic were suitable. For instance : s^sXdcTco, sKKoXscra), (rrj/jLavsco, ScaaKsSdaco, nrapaaropsaw, irpoa- a/jL(f)CS(7(o : dycDftao/jLai, Ko\dasa6ai, KaXsasaOai, ojJboasaOai, are suited to heroic verse: on the other hand, e^sXm, skkoXm^ a7]fjLavco, Scacr/csSco, Trapaaropco, Trpoaa/jLcpcco, dycovLov/jLai, KoXdadac, KoXslaOai, ofjbslaOai, to iambic and trochaic metres. The sjd- labic quantity of the Attic termination lo) is, it is true, the same as that of the Ionic lao) : but the same cannot be said of the middle form. In the variation that has been noticed in the active form, the Attics had no other end than that the analogy which obtained in other verbs between the active and middle 256 DAWES's CANONS. forms might be preserved. These variations, as has been already remarked, can only take place after a short syllable. Had the Athenians adopted the same rules of crasis after a long syllable, innumerable words would have been entirely excluded from various positions of iambic and trochaic verse, which in the Ionic form suit those metres just as well as heroic. For instance, yoprdcKi), alvscrco, apfjLoaco, can be so placed in a senarius, as to terminate the second, fourth, or last foot ; in a trochaic, so as to commence the first, third, fifth, or seventh ; but from all these places '^oprco, alvo), apjjioi, would be excluded. Again : dpTracrofisOov, dpirdasaOov, dpiraaofisOa, dpirdasaOs, dpirdcrovTai ; alSsaofisOov, &c., dp/jLocro/jusdov, &c., suit various 230sitions of iambic and trochaic metre, wdiich evidently reject dp7r(i)fiEdoy, dpirdaOov, dpircofJusOa, dpirdaOa, dpirwvTai ; alho-ufJuzOov, &c., dpjjiov/jLsOov, &c. Whoever attentively examines other varieties of Attic crasis, wdll agree with me that the principle is the same in alL" P. 135. " In Aristoph. Plut. 222. rl Bpco ; Spa) is not the contracted future, as is generally sujDposed, neither is it the joresent in- dicative used for the future, as Kuster thinks ; but it is the subjunctive mood, which frequently has the force of a future, or may be referred 'in its proper signification to iva, or p^/?^ tm understood. Similarly in Plut. 1198. iyco 8s tl ttolo); is the same as in English, but lohat must I do ? Similarly in Ran. 1165. ^Eschylus says of Euripides: s'yot) ctlwitm tmBe hs (T^^oXaioTspov, toctovtw itXsov /SacrcXsl avvaysipsaOai crrpd-- DAWES S CANONS. 257 TSVfjLa. To restore this, I have only changed the position of the particle av: for other editions have fj,d)(^sa6ac. That particle belongs to both infinitives ixdyscrOai and auvaysipsaOaL, and gives to both the sense of future time. I will cite a few in • stances of similar construction from Xen. Anab. p. 200. : tt/oco- Tov fjLsv olfiai av vfjuas fjui^ya ovrjaai to arpdrsv/jLa, si STrc/jLeXTjOslvrs (1. sTnfjbsXrjOsLTs) — ol/xat v/xas irdw av sv Kaipo) iroirjcrai : p. 451. i^yt^aavTO ovv, so sva sXolvto dp')(0VTa, fiaXXov av hvvaaOat — Ka\ si Ti 8soL XavOdvsLV, /xdXXov av Kal Kpvim-aOai-) Kal st tl Ssol (f)6dvscVi r)TTOv av varspL^siv : p. 529. si 8s uot vfisls TrapaysvoLads, otfjbai av (Tvv T0t9 S^so2s KaraXaf^slv ttjv dp')(7]v. To these I will add one example from Aristophanes, Pint. 464. Kal rl av vo/xt^sTui/ KaKov spydo-acrOat jjlsI^ov dv6pd>iTOV9 ; XP. otl ; si rovro hpav fisXXovrss siTcXa6o[fisda. Hence it is plain that the particle av gives the same meaning to verbs of the infinitive mood as elsewhere to those of the optative. Thus ot/juat av vfjias ovrjcrai is precisely the same as vfjisls av ovijcratTS, o)9 olfiao. Moreover the same particle gives the same meaning to participles : p. 363. (hs dXovros av rod ')(wplov is correctly translated : quasi futurum esset ut opj)idurii cajpereturr P. 127—135. " It has been long supposed that the subjunctive and optative forms, with certain particles, for instance, Xva, ocj^pa, and purj^ might be used promiscuously. But a distinction is observed by all pure Greek writers. The form which is termed optative, when joined with the aforesaid and similar particles, might be, with no less propriety, termed subjunctive, than the other vrhich alone bears the name ; but the former is subjoined only to verbs of past tmie, and thus corresponds to the Latin tense amarem ; the latter to none but verbs of a present or future signification, answering to the Latin amem. I Avill cite ex- amples from Aristophanes of both forms joined to the particle Lva ; — I. Plut. 90. 6 Si fji sTTotrjasv rvipXov^ 7va fjur) SLaytyvcocTKOL/jLi, tovtcov puTj^sva. 721. KarsirXacrasv aurov rd ,&ksspz TO ypa/jL/juaTslov, lv avayvo) Xa^cov. Now if in these passages you write the subjunctiyes Biaytyva}- afcco^ oBvvaTaL, ylyvcovTai, v(ps\o)VTai, cf>o,87]d(x), you will violate the rules of language no less than of metre ; in like manner, if vou substitute optatives sKTpayjjXiaOsii]^ d/jbAWESS CANONS. 261 joined to' the accusative of the person only, which is the case also with ciKsoiJiat, are sometimes construed with two accusatives, one of the person, another of the noun sXkos, but never with the dative. II. E. 361. XiTjv 0,^(6 ofj^ai iXicos, 6 fis ^poros' ovraasv avrjp. 795. s\ko9 dya^jrv-^ovTi, to jjllv (3aXs Hdvhapos uo.^'' P. 265. " In Od. . 5Q. 83. To^ov civaKTOs, read ro^a avaKTos: for ro^a is not unfrequently used of a single bow : see v. 90. 259. 359. 362. 369. 378." P. 267. " The verb dpiarav, with all its family, always lengthens the first syUable." P. 291. " In forming patronymics the genitive in 09 or ov, after a short syllable, was changed into itrjs, after a long into ia^r]s. Of which, as examples, are ^A.Tpdhr)s, '^KToplhrjs, l^^earopihrjs, ^A9, (36Tpvo9, l')(6vo9 (for the gen. cases must be noticed), come dfi(f)opsi8Lov, /BorpuiSLOv, l')(6vihLov.^^ P. 397. " AristoDh. Plut. 1141. KOi /jLr}v OTTOTS Tt afcsvdpcov TOV BsaTTOTOU v(f>stXov, iyo) as XavOdvstv sttolovv dsL The nature of Attic poetry forbids such a hiatus, as is seen in the second line. In the next place, I assert that the sentence itself, OTTOTS v(^siXov — STTOLOVV dsL, involves a solecism ; and that OTTOTS v(psXGLo is required. I therefore, on both grounds, write the passage thus : vc^'sXoi, syco. Similar constructions are to be met with every where. Plut. 1019. s(f)7] ottots Trpo- TSivoLsv. 1145. iJLSTsl')(S9 — OTTOTS — Xrj^Osirjv. Equ. 1337. OTTOT siiTOi — OTTOTS y^pTjaaiTo — dv(opTdXc^S9, Vesp. 279. ottot'' s 3 262 UAWES'S CANONS. dvTtjSoXoirj — sXsysv. Av. 505. Xmttots SiTTot — sOspi^ov. 512. kXciix^avz — hiroT h^^XOoir P. 401. [See Soph. Tmch. 924. si irov (piXcov (SXi-^auzv oIkstmv S£fia9, SKXaisv r) ^vcrrrjvos. Herod, vii. 211. okcos svrps'^SLav la vayra, aXsss (psvyscTKov SPjOsv.'] " The particles ov /jLtj must be construed either with the future indicative or second aor. subjunctive. " Aristoph. Kan. 512. ou /jL7] or syco 7rspi6y^o[Jb airsXOovT , "Eur. Med. 115. ov fjL7] Sv(Tfxsvr}S sasi (fiiXocs. " Soph. El. 1058. ov aoi /jL7] fJusOi'^ofJuai ttots. 1035. ClXX OVITOT S^ S/jLOV JS /jLT) /JLd6r]9 ToSs, " Aristoph. Av. 461. Xsys S^appijaas' cos* rds orirovhds ov /xr} irporspov Trapa^co/jusp.^^ P. 410. " I assert that otto)? put) hihd^r}9 is a solecism ; and that the genius of the Greek language requires 017009 puy StSa^ety. The particles oircos pLrj are never joined with the first aor. subj. either active or middle. The same may be said of ov puyj, as noticed above. ''Ottcos-, either with or without /jlt), is legitimately construed with the second aor. active or middle, as also with the^r^^ aot\ passive. These aorists approach very nearly in signification to the future indicative, as in the expressions, ttol cf>vyco ; ivhither must I jiy ? ttol rpaTrcopLai ; ivhither must I turn myself? irol TTopsvOo) ; whither must I go ? wdiich come nearly to the same, as : whither shall I fly ? ivhither shall I turn myself f whither shall I go ? Indeed, they are not unfrequently found in the same sentence, with future indicatives ; as in Soph. Tr. 990. TL irdOcD, Ti hs /jL7]o-ojjLaL \ ol\xoi. But the first aorist, either active or middle, is never thus used." P. 423, 424. " Aristoph. Nub. 1350. COS" OVTOS, SL fM7] T(p TTSTTOiOsV, OVK dv YjV OVT(OS aKoXacTTOs. The verb TrsTroiOsv, followed by ovk dv rjv, is rejected by the nature of Greek construction. It ought to be, si fjui] tw ttsttol- deuv, OVK dv rjv — i. e. sTrsTroiOsiv. But some one will say, what means the first person singular, when ovtos requires the third? Learn, then, that the Attic termination slv of the preterper- DAWES S CANONS. 263 feet tense does not belong to the first person singular, but to the third; and that rj is the proper termination of the first person. I assert this confidently, from an accurate examination of the Attic poets; for I concern myself not with prose writers, in which the dreams of grammarians are continually manifest. Nay, even in poets this is not unfrequently the case, but only where the verse will admit the true readino-. Xeither is an example wanting, in which the termination slv is assigned to the first person, even contrary to the laws of metre. For in- stance, in Aristoph. Av. 511. editions generally exhibit: tovtI tolvvv y ou/c rjSscv yco' teal Brjrd fju iXd/jL^avs Sav/Lia. For the monstrous reading fjSscv ^jco, Kuster has well restored from a MS. in the Vatican, tJBt) 'yco. What I have ventured to assert concerning these terminations, I have inferred from this : that wherever the verse requires the termination scv^ there the sense also requires the third person ; where the former requires the termination ??, there the latter requires the first person. Add to this, that tlie analosrv of Attic crasis defends it. Thus the Ionic termination of the first person is sa, of the third ss, and when a vowel follows, ssv. But the Attic crasis, it is well known, turns so. into 77, ss and sez^ into so and ^tz^." P. 426 — 431. " Aristoph. Ean. 854. ov/c av jUis6sL7]v rov S^povov, /jLI] vovOirsL. Whoever supposes that the active fjusdiij/jic may be joined to a genitive, or the middle [MsOlsfiai to an accusative, knows not the manner of speaking observed by the Attics. The subjoined examples will show the true construction of each : Eur. Med. 728. [jisvels davXo9, kov ah /jli] /j^sOco ttots. Soph. (Ed. C. 830. /.csOes ')(£poLV TrjV iralha Bdaaov. Soph. Phil. 1294. fjbi6s9 /jLS Trpos &SCOV %£t/3a. cf)l\TaTov tskvov. Eur. Hec. 399. COS" rfjaB' SKOvcra 7TaiBo9 ov [JizOi]ao(iaL. Eur. Hipp. 326. Kai (Toiv ys yovdrtov ov /msOijao/jLal ttots. Eur. Here. F. 627. rpofiov Ss iravcrac' koX fisOsad' s/jlow irsifkwv. It can scarcely be necessary to produce more to persuade any one that the passage in question ought to be remodelled thus : — ovK av ixsQ sipui^v rod Spovov.^^ P. 438. s 4 264 DAWES'S CANONS. " Aristoph. Kan. 1266. aX)C M ^ydO^ STL fcal vvv airohos irdcrrj Ti')(vr). Here the active aTroSiBovac is used in a sense which belongs only to the middle, viz. to sell : we must read therefore : dirohov irdar) TS')(yr) : dirohos has quite a different sense, viz. pay, restore^ give hack: Ran. 272. sKJSatv, diroSos tov vavKovy P. 447. " Ran. 1496. tacds ctcoOco/jlsv dv. To avoid a solecism, I pro- pose to read, lctcos ctcdOsI/jusv dv. The copyist, I suppose, who had learnt when young the inventions of the grammarians, TU(f>0£L7]TOV, TV , AOyvalot fcaXou^ P. 465. " Aristoph. Pac. 1295. ov Trpdj/nar aasis. Read aast : for the Attics do not acknowledge a futm^e active of a^w ; but use the middle only acropbau'' P. 534. " Aristoph. Eccl. 57. KaOrjads tolvvv, a)s avstpco/maL rdSs. Ionic poets were at liberty to use sLpo/xat and avzlpofiai', not so Attic. Neither do I remember to have read anywhere in Aristoph. even the second aor. subj. with cos, except in con- nexion with av. Correct therefore : cos- av dvEpcofiai raSs." P. 557. " Whenever an adjective or participle of the masculine gender is applied to a woman, there also the plural number is used. Eur. Hec. 509. ovk ap ws* S^avovfisvovs MsrrjXOss rjiiasJ''' P. 571. " Of the verb o/jlvv/hl the Attics have no future active ; they used onlv the future middle, adopting their usual crasis, 6/xov- fiat:' P. 600. " The particle ov with a verb of the subjunctive mood requires another negative fxr) as its companion." P. 603. See above, p. 262. " Althouo:h the verb irivsaOai in Homer has the sense to prepare {halra ttsvovto, Od. F. 428.), yet in Attic writers it has no other meaning than to be poor, needy, &c., and never governs an accusative." P. 614. 266 C. G. HAUPT ON THE DIALECT OF THE TEAGEDIANS. FROM THE GERMAN OF C. G. HAUPT : " VORSCHULE ZUM STUDIUM DER GRIECHISCHEN TRAGIKER." § 1. IN THE DIALOGUE. As there are two leading elements in ancient Tragedy, so there is a corresponding division in its dialect. The language of the lyrical portions is usually named the Doric. In the por- tion embracing the dialogue we should naturally expect to meet with the pure Attic dialect. Yet still we do not meet with the language of actual life, as it exists in Aristophanes ; nor, on the other hand, the language of the lyrical writers, but such as may rather be denominated the Old Attic or the Epic language. As the Tragedians borrowed from the ancient Epic poets not only their subject-matter, but also their mode of expression and representing objects; hence they used in the dialogue, 1. many Epic words and forms of words : as, ^slvos, alel, [xovvos, ksIvos, ®pfJK£9, ixsaaos, Tocraov, irpoaaco, avrts and avrs, ^or], spo9, 7ro\L7]T7]9, K. T. X. — 2. Epic forms of inflection : in the declensions, as, £Sp7]9, yovvara, Sovpl and Bopl, Datives in aiai, fjac, oiai, also T0Kr]S9, TOK-qcov, and resolutions voov, evpoov, zvitetsos, phOpov : in the conjiigations, as, 7ro\suu.2vo9, fcrlaaas^ 6\£crcra9, &c. — 3. Epic quantities of words, dOdvaros, d/cdfiaros, &c. Doric forms of words also occur : as, ^A6dva, 8apo9, skcctc, Kvvayo9, oTraSos-, Sdios {iinlucky, disastrous), vlv, vao9y concerning which we shall speak more definitely in the dialect of the choruses.* FOKM OF THE PROPEK Ai'TIC DiALECT. 1. Prosody in a wider sense [Breathing, Quantity, Accent). — Instead of d'yos most MSS. have dyo9, as also in the compounds dyrjXaTslv, d'y7]\d^sLv, &c. ; on the same ground Elmsley has erroneously written ddpol^to and dXixo. Concerning the Attic dvvTco instead of dvvTco Porson (Phoeniss. 463.) and Hermann (Elect. 1443.) may be consulted. This word is Attic, on account * " Mea sententin, ita se res ha- x^'P^^ • poeticse ^owara, douXios, kg7vos^ bet. l!^emo ignorat, luultas esse p-ovuos, leTros, ovvo/xa, itAscou, (pdos^ X^P^^- voces, quEe duas liabeaiit formas ; Formas poeticas satis miiltas In sena- unani comraunein, etiam a comicis riis usurpant tragici, sed ea lege, ut iisurpatam ; alteram poeticam, tragi- communis in eadem sede collocata corum proj)riam. Formse communes, metro adversetur." — Elmsley on Eur. exempli gratia, sunt 7oVaTa, Soi'Aeios, Med. 88. iKe7pos, f-Loi-'o?^ leVos, vvoj-La^ irAdoou^ ^cws, DIALECT OF THE TRAGEDIANS. 267 of the inserted r, as in dpvrcj. There is no douljt about the quantity of aXvo) in the Tragedians : in Homer the middle syl- lable is always short, except Odyss. ix. 398. rov jxev sttsct £ppL-\lr£v diTo so ')(^Epo-lv dXvwv. Concerning sXkos and sXkos the reader may consult Lol^eck (Aj. 1284.), and Elmsley (Q^d. Col. 1074.) concerning 'sphco and sphw. [He prefers the former orthography.] In such words as these the spiritus asper appears to have proceeded from the Grammarians : for ancient and unadulterated MSS. of the Tragedians, as well as of Thucydides, Xenophon, &c., confirm the lenis spiritus. The word spBscv might form an exception. Porson (on Orest. 64.), Erfurdt (Aj. 1109.), and Hermann concur in denying that in a trimeter a short vowel can be used long before a mute ante liquidam, if the short belongs to one word and the consonants to another. On the leno'thenino; of a short vowel before pk, y\, y/m, jv, S/jl, Bv, see Porson on Hec. 298., Elmsl. Bacch. 1307., Herm. Antig. 296. Seidler (Eur. Electr. 1053.) has shown that k\ can make position, whilst Schneider and Wellauer (^sch. Prom. 609.) maintain that a mute before a liquid can make position gene- rally in the trimeter, as in the anapaestic and lyrical portions. Thus for instance we have Trapd KXalovai (Ale. 558.)*, and the short vowel perhaps every Avhere long before yv. Others have limited the position to the case of a mute before p> That p can make the short syllable of the preceding word in the arsis long we may take as an example [juE'yd paKos (^^sch. in Prom. 1023.) ; and though this instance recurs the most frequently, yet it is not the only one. The passages in which position is made by a mute before \ are sufficiently numerous. The ancients doubled the single liquids iironuntiando non scribendo (Heyne on Homer). This law, which holds equally good for the Latin writers, is applied by the Tragedians in the case of proper names : TiXsi;- Tavros, 'iTTTro/jisSovTos. (Lobeck on Aj. 210.) The Homeric TTToXis^ irrokeiios, occur also in the Tragedians, when the preced- ing short vowel must be made long. The a in koXos, (^Odvco, is short in the Tragedians ; it is long in "Attlos, also in ^dirshov^ and ^yspa (in tlie Epic writers short). Finally dpa instead of dpa, which however Hermann denies. (^Prajf. ad CEd. Col.) : '^ ubi neque interrogationi neque excla- mationi locus est, non est ferendum dpa ; in aliis locis dpa v. 7' dpa in r dpa (i. e. tol dpa) mutandum ; ut in Hipp. 443. ubi videndus Monkius." The iota in Xldv is doubtful, as in dvla (Porson, Phoen. 1374.), IdaOai, to.^?;, and their compounds. The iota in 'laos, (pdlvco, * But Monk has edited : a'axpoy 8e f But see Porson, Orest. 324. wapa K\dovo'L ^oii'uaOui ). Pej'sons. The dual, as is the case with the Epic poets, fluctuates in the historical tenses between rjv and ov. * Elmsley denies that the first person of the dual in the passive in £0ov is in use. The second person of the present and fut. pass, and middle fluctuates still more betw^een £l and 77. Except o-v/ret, olsi, and /3ov\£l, which regularly retain £i, the termination 77 in many passages of the Tragedians is certain according to the MSS. But 7j and sl in the MSS. are so frequently commuted in cases where the error is evident, that we must be careful not to follow them implicitly in this matter. Plato, Thucydides, &c., have mostly the form in £t. The opinions of the learned therefore differ greatly upon the subject. The first person plural often terminates in saOa instead of £0a. Concerning the V paragogic at the end of the senarius, consult Reisig. (Prcef. ad Comm. in (Ed. Col. xxiv.) c). Tenses. Present. Concerning the present tenses in 6£iv {t£\s6scv, fj.tvii6£i,v\) Hermann may be consulted (Qi^d. Col. 1019.) ; and concerning pL7rT£Lv and pL7rT£cv (jactaj'e ^nd Jacere) the same writer may be consulted. (Aj. 235.) J Along with the Attic k^Oalpsiv we have also £')(6paiv£Lv, with l(T')(aLV£iv also ia')(vaiv£LV.) with ^vvrjp£T£lv also ^vv7jpsTfjL£lv, with oi^^zoQai also ol')(V£ly, W'ith \av6dv(o also XrjOo), with irsro/xaL also TrordofiaL * " Secundam personam dualeni a 187. Hermann dissents from him, tertia diversam non fuisse, primus, ni producing- the pres. fxivvdovGi from fallor, monui ad Aristoph. Ach. 733." (Ed. C. 692. — Ehnsl. MecL 1041. \ On irirvuu and -kitv^iv^ see Ehnsl. f Elmsley writes reAeSeTj/, /.uuvdelu^ Heracl. 150. &c. C'onsiderino- them as aorists : Med. :^72 C. G. HAUPT ON THE (not LTTTafMac), &c. The imperatives have the Attic form in the last pers. pi. prees. pass, and mid., a^aipBLO-Owv, the same in the active, ysXcovroyv. The form in coaav is denied : v. Ehnsley. (Seidl. Iph. T. 1480.) Future. We may remark oiOrjaco instead of coaco ; from ^'■p'^o/jLai, sXsijaofiaL ; further from asipco or alpw the future alpoy. Wq have the Attic future aKsBa (Prom. 25.), irsXa (CEd. Coh 1060.), but also KoKsaa), &c. The Attic futures in ovjjusOa pro- fieed genei'ally from the transcribers, as cpsv^oyfjusda, for which Porson writes (psv^ofisada (Or. 1610.); so irevaovpisOa (ibid. 1362.). Concerning alvo), apKO), &c., see Brunck (Q^d. R. 138. 232). Perfect. soiKa, soiyfisv, Si^aai', apdpa, Porson, Or. 1323. and the aorist apapov in lyric verse (Herm. on Soph. El. 144). The Ionic perfect oirwira occurs, Antig. 1127. ; olha, plusquam-perf. yhr], but more commonly fjBsLv, plur. ycr/jusv, 'paav. Aorist. We may remark zlira, sirscra, ijvsyKa; the optatives TTSLo-ais and irsLasLas ; in the passive and middle \vit7]6sIjx£v, awaaLaro, as also irvOoLaro in aor. 2. ; the infinitive middle i]paadaL) TrrdaOai, and ir\i]aa(j6aL ; and the j^^^'ticiples irrjaas from irda^w [a doubtful reading for iTTalaas, in ^Esch. Ag. 1637.], Ksas and Ki'-javres from Kalo). As the Tragedians have in general a fondness for ancient and full-sounding forms, they prefer the aor. 1. pass, to the otherwise more ordinary aor. 2. Still we meet with dTTTjXKdyrjv, s^vyrjv, icpv^ais, ptcpsyrss, &c. [^crT£psprs9, Hec. 621.] Besides, we have to remark the aor. 1. khvvdaOriv. In reference to the aor. 2. act. pass, and mid. we cite also zttltvov, sktvitov, &c. As py/JLara .avOviroraKTa we may cite iropslvi spsaOai, and their compounds. Concerning other poetical aorists, as sppvro, dpapcav, aTracpoov, see Buttm. 385. Obs. 7. Verbs in jjll. Whether the contracted form in the present is to be met with in the Tragedians, is a matter of controversy. Brunck has admitted it in many passages. According to the canon of Porson, Or. 141., stlOsl may be allowed in the imper- fect, but not rtdsl in the present, for which rLdrjai always occurs. Others approve of the contracted forms in the imperfect and present, where the MSS. have them; and from L7]fiL they write the present isl9, ist, the imperfect Isl^, 7sl. Of the verbs in v/jll there is even the first person present in vo) together with the participle in vcov ; although Porson maintains that this first took place in the newer comedy. The first person of the imperfect of slijLL appears to have been generally ^ (thus also Traprj, &c.); yet '^v is found before a vowel (where even ^ could not be read if the passages were corrupt) four times in Euripides and three times in Aristophanes (see Herm. CEd. R. ed. n. xii.). Con- cerning s/jlsv, £(7/c£, sacrsrac, see the interpreters on ^sch. Pers. DIALECT OF THE TIIAGEDIANS. 273 96. 614., Soph. El. 21.818. We nlso remark sardvat, karMs, sary^co, and the Imperatives riOst, irt/jbTrprj, t,7], dva, Xaraoro, also tcrrw, Xt(i)v. 6. Grammatical Figure,^. — By these we understand poetical liberties in the addition or omission or transposition of single letters and syllables, and particularly the freer use of the apo- strophe in the dialogue portions of the Greek Tragedy as well as the lyrical. Crasis. This figure is of very frequent and extensive use with the Tragedians, particularly in the Articulus pra^positivus and postpositivus, in Kal and other particles. How it should be written in all cases, the learned are not agreed. Synecpho- nesis is of no less frequent occurrence ; for instance, in £70) ovy iyo) slfMC, rj ou, sttsI ov, firj ov, /jut) slSsvac, fxr) Mpaiai^ &c., mostly in the dialogue. . Synizesis occurs for the most part only in the lyric portions ; for instance, so in ^sos, vo in vskvo^, vco in ^Rpivvvcov, &c. Elision (Apostrophe) does not take place (1) in tI, irspl, ore: (2) nor in the dative singular and plural of the third declension, according to the usual opinion; see Hermann, however, on Alcest. 1123.: (3) nor in the termination ai, except in the passive terminations fiat, crat, rat, crOan (4) usually only in oXfxoL before an w, but not in /^ol, o-oL Single exceptions how- ever occur. Whether tol can suffer elision, see Buttmanu (Gram. p. 124.) and Thiersch (Gr. p. 426.)* Aphceresis is usual in ksXXco (instead of oksWco) and in oSvpofjuao and idsXo), if ^sXco and hvpofjuai are not distinct verbs : Syncope^ in cTTSvvTai (Pers. 50.), sTra'y^saaa (Agam. 147.), dfjb/Syarj (Eur. Hec. 1263.), KarOavslv, 'Ufjusvos, (see Buttmann on Philoct. 494.) : Apocope, Kpsd (Eurip. Cycl. 126.), with a short d instead of Kpsara ; dva instead of dva^ and dvdaT7]di, /xd and /3d only in the lyric portions. Trap, ^sch. Supp. 556. Diceresis occurs in otw, svpil, dtha, and is particularly frequent in anapaests: Tmesis in virip — arivco and in other verbs com- pounded with prepositions ; thus iv Ss fcXycrars : Epenthesis in rjXvOov, fcsivov for ksvov, slv and slvdXtos for sv, ivdX., yovva, &c. : Diplasiasmus in dhhr^v, and adjectives in aos, for which aaos, fjLsacros'. Metathesis in Kapricrro^^ sBpaKOv: Paragoge in the poetic forms hv\^ SiaL § 2. IN THE CHORUS. Though lyric poetry chiefly employed for its purposes the Doric dialect, and belonged in general to the Doric tribes ; " out' &pa est oij TOL &pa, di- perssepe fit in Atticis poetis, prse- phthongo 01, quas elidi non potest, cum sertim in tol &pa et rot fii/." — Monk, brevi vocali orasin efficiente : quod Hipp. 433. Guide. T 274 C. C'. IIAIIPT ON THE yet many lyrical writers employed it with great freedom, and exhibited a particular attachment for the E[)ic forms. The Doric dialect appears the most limited in the choruses or the impassioned speeches of the Greek Tragedy. In these the Doric expression extends chiefly to the use of a instead of 77, and to some forms ; vlv, OlBiTroSa for OISlttoBcv ; and we no where meet with Xsyo/jiss, rjvOsv, fjUEXtaBsfjisv, Mwcra or M-olaa, infinitive in sv and tjv^ accusative plural in cos and 09, &c. Some Doricisms were generally connnon to the ancient lan- guage, and are to be met with in the more ancient prose writers and in Tragic dialogue, Sapbs, sKajBoXos, sKari, Xo'^ayos, &c. ; and others existed already in the Epic language, BdirsBov, 6dK09. Besides these we also remark in the choruses the fol- lowing Doric forms : Msvs\d9, gen. MsvsXa, dat. Msvs\a. Thus 'AifiSa, UsXla; the genitive AlaKtBdv, ^-qpdv, rdvBs yvvac- Kav (see Porson, however, Hec. 1061.); accusative, svK\ed; the vocative with the apocope, /xa instead of /judrsp, and /3a instead of /SaaiXsv (^sch. Supp.), Sd for 777 (Prom. 567.) ; further vds, vao9, vaC and vdzs, fjudcrcrcov instead of fisi^cov, ttotI instead of irpbs, even in the senarius. Finally, dvd Avith a dative instead of avv, iv for sh. In verbs, slaoi')(y£vaiv, y/bLvsvrat, dvTSVv. As ^olic forms in the choral odes, we may cite ireBaponos for /jLsrdpaio?, irsBdopoL for fiZTscopoi, TrsBai^/xLOi for iiETal'^QiiOi ; see Blomf. Prom. 277. 'yvo(pspos for Bvocpspos, aracfisv for srdcfyTjcrap, dyvpts for dyopd, &c. Many are at the same time Epic, as alios for sfjios, not for rjfjLsrspoSy as in Homer. Other forms in the lyric portions are I^pic or Ionic, particularly those with the double dpo9, pi. (fydpi], for (j)dpo9; but it is to be met with in the Tra- gedians as well as in Homer with tlie long a ; also ^ocraXios^ [Orest, 321.] ; dtcrcrco with the short a; in Homer it is always long; dtco has the a dou!)tfiil in the Tragedians. [Hec. 170. 174.] Again, we have a/xos* and cifjios], Irj/j.t with the long and short l; and the quantity of the v varying in vdBs9, vSaros, dirvcov, d\i)(D, &c. : also ')(pvasos with the short v. [Elmsl. Med. 633.] Brunck on Orestes (201.) says, " tertia \yv ^AyajXEfjivcdv corripi potest in ]Melicis ;" and concerning TroTfios with the first syllable long we refer to Seidler de Vers. Doch. p. 106. Con- cerning the lengthening and shortening of syllables by the in- sertion and reduplication or removal of letters, Hermann may be consulted, Metr. p. 45. As an instance of such a lengthen- ing we may cite sXs8s/j.vd9 (Sept. Theb. 83.), and of shortening '^pvcropvTos for ')(^pva6pp. (Soph. Antig. 940.) Greater freedom prevails in the chorus than in the senarius with respect to the shortening of diphthongs and long vowels ; for instance, we meet with it even in Kpv<^a1os, IkstoIos, olos (even when the last syllable remains short), vaUi, halcov, Ssc- Xalwv, alsv, and before the vowel of another word, KaSyLtou ETTcovvjjbov, at, at, &c. The long vowel is shortened in \pf]i'(iiv, XXdos, ^vvtrj/jLi, TpcoLKMV, Tp(pd8o9, irarpaio^, &c. ; and in separate words, iv voctm svhpaKES. Tlie Noun and the Adjective. There prevails a still greater freedom in lyrical passages, with respect to the feminine form of compound adjectives. Tims we have the old poetical forms dOavdrrj, dravpcoTy, TroXvKKavrr), diropOt^Tr], aKafidrr], (piXo'^svr], &c. See Elmsl. and Pors. Med. 822. Xouns appellative are sometimes used adjectively, as 'EXXaSos* aroXij^. Feminine ad- jectives are sometimes used as masculine, as ris 'EXXas*, i) rty Pdp^apos (Eur. Phoen. 1524.); even as neuter, Spo/judat, I3\s(j)d- 'pois (Eur. Or. 835.) ; even in the nominative and accusative, (TKdcj)09 oXKa^ (Eur. Cycl. 503). Here we may also cite the following remarkable passages : Bpo/jidSss ^pvys9 (Eur. Or. 1415.) and SpojudSi kqjXo) (Hel. 1317.), iv 7rsvi]ri aco/xart (Eur. El. 372. in senar.) ; also in Sophocles, d/ji(f)t7rX^)yc cfyaaydvcp (Trach. 932.). The adjectives, wdiicli are generally connected only with substantives of the masculine gender, are to be met with in the Tragedians also in feminines and neuters : P-hes. 550. TracSoXsrcop drjBovh, Or. 1305. rdv XsLTTOTrdropa, Phoeniss. 681. irpofjidropos 'loOs", Here. Fur. 114. TSKza dirdTopa. Of adjectives in 7]9, rfros, we adduce the following examples: dvBpofc/jbrjs Xoljos (^sch. Suppl. 681.), and in senar. Tri9 irarpocpovTov jjurirpos (Soph. Trach. 1127.). With respect to inflection, we may also notice w fid/cap irapOsps (Hel. 381.) and Tvyas iidxapos (Iph. T. 616.), irvoal vrjaTthzs (Agam. 201.), SovaKo^Xoa Yjvpwrav (Iph. T. 400.), sKij/SoXtjo-i 27G irAUPT ON THE DIALECT OF THE TRAGEDIANS. ;^s/3criV (Ion. 213.). In the lyrical portions, the Tragedians take very great liberty in using adjectives as common which have only a feminine form. We also remark the adjectives in ov9, ovcraa, ovp, particularly in the feminine irrspovao-a, aWaXovacra, and a S^aainsTrsia irsrpa (CEd. T. 463.), irokvhsvhpsacn SaXd/juaLs (Bacch. 560.). Poetical adjectives of rare occurrence, or a somewhat different inflection of the ordinary ones, are frequently resorted to by the Tragedians in lyrical passages. We merely cite in this place the vocative of /jbsyas in ^sch. (Sept. Theb. 824.) f^syaXs ZeO, and the poetical form of adjectives in 7)9 ; for instance, ToXfxfjs, dpya9 (Doric for dpyfjsr, Agam. 116.); or in 77? and a9 for oy, as 7ro\sfjidp')(as (Sept. Theb. 791.). The freedom and the bold- ness of ^schylus in the formation of new adjectives and verbs have been illustrated by numerous examples in the annotations of the critics. The juxtaposition of adjectives and substantives, as vdss dvass (Pers. 677.), fisydXa fi£ya\r]y6po)v (^Sept. Theb. 539.), &c., is worthy of notice. Among the forms of comparison we also remark ^sXrspos, ^sXraro^, in ^l^sch. ; fiiKpoTepo^, ifKkovsy in Sophocles. Pronouns. "T/m/jis in Soph. Antig. 846. : vlv belongs exclu- sively to the Tragedians. The reflective pronoun ov, ol, &c., stands as a pronoun of the third person for avr69 in all the three genders ; (7(pL as dative sing., and cr<^e as accusative sing, and plur. of all genders, occur in senarii ; a(j)£ for savrov (-ZEsch. vSept. Theb. 615.); tsos, tsjj, tsov, generally only in choruses (Soph. Antig. 604., Eur. Heracl. 914.); 01^ for sbv, sMv, and mv ; roiat from ti9 in Soph. Trach. 984. THE END. y Lovnox : Printed by A. Spottiswoodk, New-Street- Square. Al^l l^^^^^sED FOR F^^^rTHE PENALTY DAY AND TO * OVERDUE- : pEcCIR. DEC \5 WS U.C. BERKELEY LIBRARIES <:D3fl^^7s^fl 3^2W THE UNIVERSITY OF CALIFORNIA LIBRARY v:,* ' Mi